DECEMBER 2017 ROUND-UP (FUKREY RETURNS, FIRANGI, TERA INTEZAAR & MONSOON SHOOTOUT – Mini Music Reviews)

It is time for my Round-Up for December 2017, which is slightly delayed due to me being so busy, but better late than never, right?

December 2017 Round-Up

This Round-Up includes the following music reviews:

1) Fukrey Returns – Prem-Hardeep, Jasleen Kaur Royal, Sumeet Bellary, Shaarib-Toshi, Gulraj Singh, IshQ Bector, Shree D & Laxmikant-Pyarelal

2) Firangi – Jatinder Shah

3) Tera Intezaar – Raaj Aashoo

4) Monsoon Shootout – Rochak Kohli, Viveick-Mayur, Chinmay Harshe, Chetan Rao & Vikram Shastry

The music review for “Tiger Zinda Hai” will be posted separately.


♦ Fukrey Returns, But Ram Sampath Doesn’t! – FUKREY RETURNS Music Review

♪ Music by: Prem-Hardeep, Jasleen Kaur Royal, Sumeet Bellary, Shaarib-Toshi, IshQ Bector, Shree D, Gulraj Singh & Laxmikant-Pyarelal
♪ Lyrics by: Kumaar, Late Anand Bakshi, Aditya Sharma, Satya Khare, Raftaar, Rohit Sharma, Arsalaan Akhoon, Shree D, Mrighdeep Singh Lamba & Vipul Vig
♪ Music Label: Zee Music Company
♪ Music Released On: 16th November 2017
♪ Movie Released On: 8th December 2017

 

Listen to the songs: Saavn


So Fukrey has returned. Sadly, the man behind “Fukrey”s enjoyable music, Ram Sampath has not returned, and after his underwhelming stint in ‘Raees’, he doesn’t get a chance to bounce back with a franchise that was initially his. Anywho, let’s judge on what we have been given.
Prem-Hardeep, the original composers of ‘Kala Chashma’ before Badshah remade it in ‘Baar Baar Dekho’, get a chance now, to ruin somebody else’s song. Laxmikant-Pyarelal’s ‘O Meri Mehbooba’ (Dharam Veer) gets ‘remade’ into Mehbooba, a banal club song which starts and ends with the Fukras being rejected by a random girl in the club, who happens to be singing in Neha Kakkar’s voice. Yasser Desai gets one line that repeats over and over again, and it is frankly the best line of the song. Raftaar’s rap is too stereotypical. Jasleen Kaur Royal’s Peh Gaya Khalara, though fitting into her now-overused Punjabi dance number template, is quite enjoyable, with the sweet vocals by herself and Divya Kumar, Akasa Singh & Akanksha Bhandari accompanying them. The arrangements are what make the track more enjoyable, and also the quirky lyrics.
Familiar territory is entered in Ishq Bector & Shree D’s semiclassical Raina, which, though quite soothing, gets tedious due to its length (it is the only song on the album over three minutes long, and goes up to over four minutes long!) The arrangements help propel it forward though, and also Shree’s vocals. Shaarib-Toshi enter the Bollywood scene after a long time with a delightful Punjabi melody, Ishq De Fanniyar. The male version by Shaarib is great, but the Female Version has all the feels, hence scores higher. The beautiful melody seems like a wonderful sequel to the first movie’s ‘Ambarsariya’. The lyrics are sweet as well, not to mention amazing accordions in the arrangements.
The techno sounds come along with the last three songs, bunched up together, out of which two are by Sumeet Bellary (composed for ‘Fuddu’ last year), and one is by (another person who re-enters Bollywood as a composer after a loooooong time, longer than Shaarib-Toshi), Gulraj Singh.
Sumeet’s two songs rely on weird techno gimmicks, which fail to propel the songs forward. Tu Mera Bhai Nahi Hai is a quirky friendship anthem, but is pulled down by lack of catchiness in both music and composition. Bura Na Maano Bholi Hai is like a title song, but gets all over the place in no time. The arrangements are slightly better here. Both songs are sung by Gandharv Sachdev, wit Shahid Mallya joining him in the latter song, and aren’t all that well sung.
Gulraj does well in his title song, Fukrey Returns, with a nice catchy musical loop, and heavy use of brass and techno sounds which makes his song sound even better. Siddharth Mahadevan on the vocals is a bonus.


Not as great as the first movie’s album, but still a commendable album considering the amount of new talent on there. But nevertheless, I wish Ram Sampath had returned!

 

Total Points Scored by This Album: 2.5 + 3.5 + 3.5 + 4 + 4 + 3.5 + 3 + 3.5 = 27.5

Album Percentage: 68.75%

Final Rating for This Album: सा < रे < ग < म < प < < नी < सां

Note: The letter which is underlined is the final rating.

Recommended Listening Order: Ishq De Fanniyar = Ishq De Fanniyar (Female) > Peh Gaya Khalara = Tu Mera Bhai Nahi Hai = Raina = Fukrey Returns > Bura Na Maano Bholi Hai > Mehbooba

Remake Counter:
No. Of Remakes: 43 (from previous albums) + 01 (from Fukrey Returns) = 44


♦ Quite A Desi Album! : FIRANGI Music Review

♪ Music by: Jatinder Shah
♪ Lyrics by: Dr. Devendra Kafir, Ashraf Ali & Krishna Bhardwaj
♪ Music Label: Zee Music Company
♪ Music Released On: 21st November 2017
♪ Movie Released On: 1st December 2017

 

Listen to the songs: Saavn


The song with almost the least amount of Punjabi words (second only to ‘Gulbadan’, which comes later on in the album) in its lyrics, Oye Firangi, starts the album off, and Jatinder Shah steals your heart right away. The charming melody immediately gets you grooving — thanks to a little EDM twist in the hookline — and though it is very simple, it is amazing thanks to the programming, and Sunidhi’s marvellous voice. There comes a British-era ballroom style orchestral portion at the end, but I wish the composer had extended that into another antara instead of ending the song with it! Another charming but heard-before melody, Sahiba Russ Gayiya, starts from where ‘Channa Mereya’ ended, with a similar structure and arrangement. Rahat’s voice is a boon to the song, and it’s the first song of his in a long time that doesn’t get on my nerves.(Ahem, ‘Mere Rashke Qamar’!) I love the way he pronounces the hookline. The Unplugged Version sung by Shafqat Amanat Ali, is funnily named ‘Sahiba (Male)’, as if Rahat’s version wasn’t by a male singer. The song itself is an improvement on the original, in that we get to hear Shafqat’s impeccable aalaaps, and though the choice of Shafqat doesn’t make it sound less like a Pritam song in general [Shafqat is just as much of a Pritam camp singer as Rahat is!] it surely does sound less like ‘Channa Mereya’, because the electric guitars have been toned down. Acoustic guitars play the larger role here. However some factors make both versions balance out at the end.
If ‘Sahiba’ had ‘Channa Mereya’ written all over it, Tu Jit Jawna has ‘Bhaag Milkha Bhaag’s title song all, and I mean ALL over it! Daler Mehndi, who I wish had sung the BMB number too, sings this one, and so it is quite bearable, but otherwise, it falls flat and sounds hollow in its emotion. It is also lyrically a counterpart to ‘Oye Firangi’, except Daler paaji doesn’t call him a ‘Firangi’ (foreigner), while Sunidhi did.
Gulbadan is a Qawwali-esque number, sung by Mamta Sharma. Good to hear her sing a different kind of song, though I’m sure the video will be the same kind of Bollywood ‘item number’. The hookline is greatly composed, with amazing arrangements by Shah, but again, falling into the too much tried-and-tested category of arrangements. I guess the best that comes out of this song is hearing Mamta Sharma’s gentle voice, because she thankfully hasn’t been made to sing in the annoying loud voice of hers.
But the album’s best is the wonderful folksy number, Sajna Sohne Jiha, which transports you back to the Punjab of the olden days. Wadali Bros’ Qawwali ‘Ve Sone Diya Kangna’ has been given a nice reinterpretation by Shah, and it works so well. The rhythms at the beginning really bring out the song’s folksiness, and Jyoti Nooran’s strong voice helps propel it to the finish line, where it emerges the winner compared to the other songs of the album!


A very desi album to the film ‘Firangi!’

 

Total Points Scored by This Album: 3.5 + 3.5 + 4 + 3.5 + 3.5 + 5 = 23

Album Percentage: 76.67%

Final Rating for This Album: सा < रे < ग < म < प < ध < नी < सां

Note: The letter which is underlined is the final rating.

Recommended Listening Order: Sajna Sohne Jiha > Sahiba Russ Gayiya (Shafqat) > Oye Firangi = Tu Jit Jawna = Gulbadan = Sahiba Russ Gayiya



♦ No Intezaar for This Album! : TERA INTEZAAR Music Review

♪ Music By: Raaj Aashoo
♪ Lyrics by: Shabbir Ahmed
♪ Music Label: T-Series
♪ Music Released On: 11th November 2017
♪ Movie Released On: 1st December 2017

 

Listen to the songs: Saavn


After a long time (or is it the first time?), one single composer gets a chance to compose an album for a film starring Sunny Leone. Somehow, she debuted smack in the middle of the multicomposer craze and so, got mainly multiple composers to compose for all her films! Raaj Aashoo handles the album.
The title track, titled Intezaar Title, instead of a more apt ‘Tera Intezaar’ (Obviously, because that’s the film’s name), is a dreary 2000s melody, sung by Shreya Ghoshal too, as if she is still in her debut year. Adding to the ennui, is the Qawwali-ish chorus. Raaj’s composition is good, but dated. The arrangement is the best thing about the song, especially the flute. Another very typically 90s melody, Khali Khali Dil, sees Payal Dev and Armaan Malik at their clichéd best. The digital sounds do not help make it more ‘modern’ or anything, and even the harmonica fails to create any impact. Quite a similar sound follows in the dreary Mehfooz, another song straight out of Nadeem-Shravan’s music-bank. The guitar work makes it sound like a version of Mithoon’s ‘Sanam Re’ title track, sans the tablas. Yasser gets a version, and, sounding like Arijit as always, manages to make it sound genuinely interesting. The arrangements here too make this song much more interesting than ‘Khali Khali Dil’. The song appears in two more versions, one by Palak Muchhal and the other by a new singer named Hrishikesh Chury. Palak’s 2½ minute long version fares better than Hrishikesh’s normal length one, because of the pleasant arrangements. Also, Hrishikesh tries to sound like Kumar Sanu.
The best song on the album, Abhagi Piya Ki, becomes the best only because the others don’t deserve it. It appears in two versions, a banal one sung jarringly by Kanika Kapoor and Raja Hasan, and a slightly better version sung much better by Payal Dev and Javed Ali. The tablas that went missing from ‘Mehfooz’ seem to have come to this song, and they play in surplus. The semiclassical touch to the song is good, but the 90s melancholia seems to have followed the composer like a thundercloud whenever he sat to compose for this film.
The only song that does not sound anything like a 90s song is Sexy Baby Girl, and it doesn’t work because it tries to sound uber-cool with its lead singer Swati Sharrma, like always, trying to add unnecessary style to her words, resulting in a disaster. Also, the lyrics are cringeworthy.


This is not an album anyone would have waited for. 

 

Total Points Scored by This Album: 3 + 2 + 2.5 + 2.5 + 2 + 3 + 3.5 + 3 = 21.5

Album Percentage: 53.75%

Final Rating for This Album: सा < रे < ग < म < < ध< नी < सां

Note: The letter which is underlined is the final rating.

Recommended Listening Order: Abhagi Piya Ki (Javed/Payal) > Abhagi Piya Ki = Intezaar Title = Sexy Baby Girl > Mehfooz = Mehfooz (Palak) > Mehfooz (Hrishikesh) = Khali Khali Dil



♦ Surprising Monsoon in Winter!!: MONSOON SHOOTOUT Music Review

♪ Music by: Rochak Kohli, Viveick Rajagopalan, Mayur Narvekar, Chinmay Harshe, Chetan Rao & Vikram Shastry
♪ Lyrics by: Sumant Vadhera, Kartik Krishnan, Deepak Ramona, Chinmay Harshe, Rohit Bhasy, Neeraj Sharma, Vinit Gulati, Nidhi Gulati
♪ Music Label: Saregama
♪ Music Released On: 19th December 2017
♪ Movie Released On: 15th December 2017

 

Listen to the songs: Saavn


Rochak gets two songs, and reminds us why he’s one composer that keeps popping up in numerous albums scattered over the year’s span. It is because of his strong melodies. Pal is a cherishable melody which, though predictable, does give you goosebumps, and makes you want it to rain. Arijit’s heart-touching rendition is enough to make anyone fall for the song. On the other hand Miliyo Re is a very Sachin-Jigar-ish romantic song, with Monali and Rochak behind the mic, with vocals that aren’t amazing, but are functional. The composition is good but very commonplace; not as distinct as Rochak’s other songs this year.
Viveick-Mayur present their only song Andheri Raat next, a haunting song with weird Marathi rap, and awesome Punjabi-flavoured male vocals. Neha Bhasin kills it behind the mic, as does her co-singer, Rajiv Sundaresan, doing the aforementioned Punjabi-flavoured portions. The Marathi rap by Aklesh Sutar is funny, and quite weird too.
The other three songs are quite situational, all by newcomers, with neither one exactly standing above the others. Chinmay Harshe’s Miss You Balma, by Akriti Kakar, is experimental but has you questioning “Why??” because the jazzy composition and the rock arrangements don’t really gel well with each other. Akriti aces the vocals though, singing in an unusually (for her) low pitch. The other duo, Chetan Rao & Vikram Shastry, present two songs, one being a folksy item song Maachis Ki Teeli, in which the very unconventional choice of singer, Bhavya Pandit, whi hasn’t ever sung such a song, proves to be great, as she adjusts to the song’s folksiness very well. Her co-vocalists provide good company as the loafers interjecting occasionally. The last song Faislay has a quite dated tune, and a very mismatching digital loop that starts it off, but Mandar Deshpande’s singing brings it up.


An album that is good, but still will be a wipeout.

 

Total Points Scored by This Album: 4 + 4 + 3.5 + 3 + 3.5 + 3 = 21

Album Percentage: 70%

Final Rating for This Album: सा < रे < ग < म < प < < नी < सां

Note: The letter which is underlined is the final rating.

Recommended Listening Order: Pal = Miliyo Re > Andheri Raat = Maachis Ki Teeli > Miss You Balma = Faislay



Hope you liked this section of reviews! The review for ‘Tiger Zinda Hai’ will be out soon!

MULTICOMPOSERS GIVE A HUGE, BUT NANHA-MUNNA ALBUM!! (MUNNA MICHAEL – Music Review)

Music Album Details
♪ Music by: Tanishk Bagchi, Javed-Mohsin, Vishal Mishra, Pranay M. Rijia, Gourov-Roshin, Meet Bros. & Tanishk-Vayu
♪ Lyrics by: Kumaar, Danish Sabri, Sabbir Khan & Tanishk-Vayu
♪ Music Label: Eros Music
♪ Music Released On: 21st June 2017
♪ Movie Releases On: 21st July 2017

Munna Michael Album Cover

 

To hear the full songs of this album on Saavn CLICK HERE

To buy this album on iTunes CLICK HERE


Munna Michael is an upcoming Bollywood dance/action film starring Tiger Shroff, Nidhhi Agerwal and Nawazuddin Siddiqui in central roles. The film is directed by Sabbir Khan, and produced by Viki Rajani and Eros International. The film revolves around a dance competition, in which a vagabond played by Shroff decides to participate, until he is entangled into teaching the local villain how to dance, and they both fall in love with the same girl. So, the typical *yaaaaaawwwwwwwnnn* Bollywood plot. The music is by multiple composers, featuring songs by Tanishk Bagchi, Javed-Mohsin, Vishal Mishra, Pranay M. Rijia, Gourov-Roshin, Meet Bros. & Tanishk-Vayu. I’m not excited about anybody’s song particularly, except maybe Tanishk’s solo song and Tanishk’s song with his ex-co-composer Vayu, who he partnered up with again for this song after 2015’s smashing debut for them, ‘Banno’ (Tanu Weds Manu Returns), so let’s just see what the album is about and we might just get surprised!


1. Main Hoon

Singer ~ Siddharth Mahadevan, Music by ~ Tanishk Bagchi, Lyrics by ~ Kumaar

This is a tribute to Michael Jackson, since the film is a dance film and the main character is probably an MJ fan, if we can deduce anything from his name. Tanishk’s composition is bland. Hookline is oddly-placed, but the Antara has a bearable tune. Arrangement and mixing are chaotic, as if Tanishk was adamant on using all techno sounds there are. The impactful vocals dont help either. Lyrics worth avoiding. When an oddly placed hook spoils almost the entire song!

Rating: 2/5

 

2. Ding Dang

Singers ~ Amit Mishra & Antara Mitra, Rap by ~ Parry G, Shivi & Danish Sabri, Music by ~ Javed-Mohsin, Lyrics by ~ Danish Sabri & Sabbir Khan

A tribute to Jackie Shroff (atleast lyrically). The generic composition leaves you unflinched. Typical tapori arrangements with random backing vocals of “Aah-aah”. Both vocalists fail to make the song better, and the rappers fail miserably. Lyrics are cheap, trying-to-be-funny but failing miserably again. The hook lyrics make you go, “Sorry, what???” Ding dung?

Rating: 2/5

 

3. Pyar Ho

Singers ~ Vishal Mishra & Sunidhi Chauhan, Music by ~ Vishal Mishra, Lyrics by ~ Kumaar

A very soothing romantic composition but quite heard-before, and the arrangements too remind of some songs heard in the past. The strings, guitars and digital arrangement still win your heart, though. The composer himself has sung as if he wanted Arijit to have sung it and Arijit would have been apt. Sunidhi is her usual perfect self while Neeti Mohan seems to have done backing vocals, but hasn’t been credited! Lyrics are very staid and nothing new. Best of the album but nothing creative.

Rating: 3.5/5

 

4. Swag

Singers ~ Brijesh Shandilya & Pranay M. Rijia, Music by ~ Pranay M. Rijia, Lyrics by ~ Kumaar & Sabbir Khan

A very situational song for a performance of Nawazuddin’s character. And they have tried to make it sound so-called “cool”, but it doesn’t work much. That instrumental loop that keeps repeating throughout the song is catchy, and the digital beats are cool, but sound very similar to an English song that I can’t recall. Brijesh’s vocals are the fun part of the song, but Pranay’s interruptions could have been avoided. Lyrics are bad, again. Except for Brijesh and that instrumental loop, a forgettable song.

Rating: 2.5/5

 

5. Beparwah

Singers ~ Siddharth Basrur & Nandini Deb, Music by ~ Gourov-Roshin, Lyrics by ~ Kumaar

This is one of Gourov-Roshin’s rare songs that are not recreations, and surprisingly, it starts off quite promisingly, in a retro-sounding prelude. The composition is still good, but a duration of six minutes is way too far-fetched, because the song is also very repetitive, and after one antara the song gets too boring. Arrangements are the same techno sounds that featured in the other songs, and many times in the past too. A rock interlude somewhere in the middle makes your ears bleed. Siddharth Basrur does a good job, but his cosinger, Nandini Deb, doesn’t impress. Again, lyrics are unimpressive. It is a song Hrithik Roshan should have got in 1999. 

Rating: 2.5/5

 

6. Shake Karaan

Singers ~ Kanika Kapoor & Meet Bros., Music by ~ Meet Bros., Lyrics by ~ Kumaar

I see the credits for this song.. and I prepare myself for another ‘Baby Doll’. And sure enough, those pop sounds and ladies shrieking feature in this song. I admit that the composition is catchy but not as much as previous Meet Bros-Kanika songs. The sound is a welcome change from the overpowering disco theme of the rest of the songs. Kanika’s voice is enjoyable as always. Lyrics continue to be the sloppiest they can be! A welcome change from the overbearing techno sounds of the album, but not innovative at all! 

Rating: 2.5/5

 

7. Feel The Rhythm

Singer ~ Rahul Pandey, Music by ~ Pranay M. Rijia, Lyrics by ~ Pranay M. Rijia & Sabbir Khan

Pranay’s next song is actually quite impressive. The composition is a perfect example of a catchy MJ-ish tune, complete with glitzy arrangements that Pranay aces. The techno sounds here and the techno sounds in the other songs differ so much in the freshness quotient. This one is on the lines of ‘Iss Tarah’ (Meri Pyaari Bindu) and that’s how it impressed me. Rahul Pandey sings a bit like Yash Narvekar and Benny Dayal, and sings impressively too. Again, the lyrics are the usual. A nice and fresh-sounding dance song!

Rating: 3.5/5

 

8. Beat It Bijuriya

Singers ~ Asees Kaur & Renesa Baadchi, Music by ~ Tanishk-Vayu, Lyrics by ~ Tanishk-Vayu

Tanishk-Vayu return after two years (‘Banno’; ‘Tanu Weds Manu Returns’) with another folksy song, this time with a techno twist, obviously. The song has a very superficial tune, and hard to grip. Also it sounds inspired from Tanishk’s own ‘Badrinath Ki Dulhania’ Title track. The arrangements match those of their first song; folksy harmonium, dhols and other techno sounds make for an entertaining listen. There’s an amazing fiddle interlude. Asees sings like never before, with a grunge in her voice in the hookline. The lyrics are a kind of funny Hinglish that I couldn’t grasp at once. Entertaining but limitedly.

Rating: 2.5/5

 

9. Pyar Ho (Redux)

Singer ~ Sunidhi Chauhan, Music by ~ Vishal Mishra, Lyrics by ~ Kumaar

Sunidhi sings this Redux of ‘Pyar Ho’ solo. It has a melancholic arrangement, with those slow and mellow piano notes, that gets quite boring to hear after some time. The strings are good enough though. Sunidhi’s solo rendition though, is a treat to the ears. The composition is the same, and the lyrics have been tweaked to make it sound sad. Not something I’d like to listen to often.

Rating: 2.5/5

 

10. Swag (Rebirth)

Singer ~ Pranay M. Rijia, Music by ~ Pranay M. Rijia, Lyrics by ~ Kumaar & Sabbir Khan

‘Swag’ had apparently died while the rest of the songs were playing, so its ‘Rebirth’ appears now. Now, whatever little elements ‘Swag’ had going for it, are all removed in this Rebirth. It has even been stripped of all melody (whatever little it had) and now sounds like a funky instrumental that makes you cringe because of the way Pranay chants those lines creepily. The arrangements are fresh here, but there’s nothing like a good tune or good vocals to accompany it. So that’s a wasted opportunity. I prefer the song in its last life.

Rating: 1.5/5


Munna Michael sounds like a very badly done ‘ABCD’ album. Then again, if ‘ABCD’ would’ve had such music, we wouldn’t have had a sequel. The overdose of (badly done) techno music really sounds useless. One song gets it right, but no others impress. When you can groove to only one song in a dance film’s album, the album’s got problems. Also, when a director or producer asks for “Give me one Kanika song, one tribute to Jackie Shroff, one to Michael Jackson, one funky Hinglish song, many wannabe retro songs”, the results are bound to be bad. ‘Munna’ is a name usually used for small kids. So may I say that these Munna Multicomposers failed miserably? 

 

Total Points Scored by This Album:  2 + 2 + 3.5 + 2.5 + 2.5+ 2.5 + 3.5 + 2.5 + 2.5 + 1.5 = 25

Album Percentage: 50%

Final Rating for This Album: सा < रे < ग  <  < प < ध < नी < सां

Note: The letter which is underlined is the final rating.

Recommended Listening Order: Pyar Ho = Feel The Rhythm > Swag = Beparwah = Shake Karaan = Beat It Bijuriya = Pyar Ho (Redux) > Main Hoon = Ding Dang > Swag (Rebirth)

 

Which is your favourite song from Munna Michael? Please vote for it below! Thanks! 🙂

ROCK MODE: OFF 😞 (ROCK ON 2 – Music Review)

Music Album Details
♪ Music by: Shankar-Ehsaan-Loy & Summersalt
♪ Lyrics by: Javed Akhtar & Kit Shangpliang
♪ Music Label: Zee Music Company [“Rock On (Revisited)” on T-Series]
♪ Music Released On: 20th September 2016
♪ Movie Releases On: 11th November 2016

Rock On 2 Album Cover

Rock On 2 Album Cover

 

To hear the full songs of this album on Saavn CLICK HERE

To buy this album on iTunes CLICK HERE

To hear “Rock On (Revisited)” on Saavn CLICK HERE

To buy “Rock On (Revisited)” on iTunes CLICK HERE

♪ Listen to “Rock On (Revisited)” on YouTube:


Rock On 2 is an upcoming Bollywood musical drama starring Farhan Akhtar, Shraddha Kapoor, Arjum Rampal, Purab Kohli, Shashank Arora, Prachi Desai and Shahana Goswami. The film has been directed by Shujaat Saudagar, and produced by Farhan Akhtar and Ritesh Sidhwani. The film is a sequel to the 2008 hit film, ‘Rock On!!’ which was like the pioneer for rock music in India, giving a whole new genre for the nation to like, love and perform for themselves. Shankar-Ehsaan-Loy had given a brilliant soundtrack for that movie, and after that rock became an integral part of Bollywood music as well. However, times have changed, and now, after eight years, the rock scene in India has changed a lot! What Shankar-Ehsaan-Loy did in ‘Rock On!!’ now seems very ordinary (in that rock has evolved over the years) and now many composers have started using rock as a way of conveying both angst and fun, in almost all movies. Now, in 2016, the sequel to that movie is releasing, and the trio yet again, have to live up to expectations, but not necessarily live up to the standards of the first album (because rock has changed!) Though comparisons will definitely take place, I will try my best not to, because of the time that has lapsed, and also, because of the change of director for the second film. (The first one being directed by Abhishek Kapoor). Since Shraddha Kapoor and Farhan Akhtar are the female and male leads, it goes without saying that they’re going to sing songs in the album, and hopefully, Shankar-Ehsaan-Loy use their limited abilities to bring out the best in both! 🙂 After that epic album to ‘Mirzya’, I’m kinda sure this one will sound less impressive, but you really cant blame the trio, because the genres are miles apart! Also, there is one song where Meghalayan band Summersalt collaborates with the trio, which is the seventh song of the album. So let’s see whether this album rocks on or not! 😛


1. Jaago
Singers ~ Farhan Akhtar & Siddharth Mahadevan

Sure enough, the album starts off with a song sung by none other than Farhan Akhtar, the lead actor of the movie, and lead singer of the Magik band (the band in the movie, in case anyone forgot). The song kicks off with a very groovy, and catchy rock guitar riff, and Farhan’s voice takes over to start off the melody of the song. The composition is quite bland, however. The mukhda is very low-key, and doesn’t scream in your face, “Hey, I’m a rock song, so you better cringe!” I liked that. Even the hookline is very catchy, and especially that line before the hookline which goes, “Sab jaan jaaye tumko…” is very catchy, and I like the way they drop down the scales one by one, in that line. Though the hookline has the singers scream in your ears, you end up liking it, because it is done very well, just like a professional rock song. It is the antaras, that cause the problem in the song. Well, at least the first antara is fine, it is just a repetition of the mukhda. However, once the second antara arrives, you can’t help but notice how long the song has been stretched, and on top of that, the quite sublime composition of this antara doesn’t help. It just gets you wanting the song to end soon, which i believe shouldn’t happen at all in a rock song! The composers do many great tricks with the arrangements though. The vibrant guitars are the main attraction of the song, especially that aforementioned riff. It plays throughout the song, and really helps in keeping you glued to the song. The drums (Jai Row Kavi) wonderfully supplement the guitars, and take the okay-ish melody to a different level. The interludes are full of great electric guitar solos, especially the second interlude, where the guitar first does a very awesome solo, and after that is broken down, making a sound like a machine gun does in video games. 😛 (I didn’t know how to describe that!) That part is electrifying! The vocals by Farhan are surprisingly full of zest, but (obviously because of the high notes) Siddharth has to give him a little help (which is okay with him, as long as it is something to do with screaming, that too, in perfect tune!) with the hookline, and Siddharth just rocks the hookline. Farhan doesn’t sound too husky in the song, and that’s a pleasant surprise. Javed Akhtar has written a good song about standing up to any wrongdoings and standing up for our rights. So, this song is two-in-one: entertainment plus awareness campaign! A good opener for the album, but if only the composition were a bit more well-polished, the song would’ve been awesome!

 

2. Udja Re
Singer ~ Shraddha Kapoor, Additional Vocals ~ Shankar Mahadevan

Shraddha, as expected, gets her first song for the album right away, and the song starts off with an entrancing and weird semiclassical piece, with Shankar (in a very chipmunkish, nasal voice that is obviously tweaked) singing a very nice aalaap. The composition starts off very mildly, with a quite ordinary mukhda, which is thankfully graced by Shankar’s weird nasal voice, which serves a great attraction, seriously! The composition only picks up in the midst of the mukhda, when Shraddha starts to sing the “Yeh jeena bhi socho koi jeena Hai..” verse. And then she sings the hookline in a very low scale, and that’s when you start loving the composition, which then goes nowhere but uphill. Shraddha repeats the hookline in a high scale, and that’s when the rock guitars and drums start off too, and from that moment onwards, the song is just energizing and catchy. However, it takes like two minutes to get to that part. Nevertheless, the wait is really worth it. The antara comes three and a half minutes after the song starts, and it is quite angsty, and very well-composed, and just as well-rendered by Shraddha. Overall, the composition is catchy and memorable, if not fast to start off. The arrangements by the trio are beautiful yet again. The guitars and drums (Jai Row Kavi) as always provide the perfect background to the song, while Shankar’s AALAAPS provide a nice semiclassical and also alien touch to the song. The drums are really energetic and energizing, and are enough to give you music to a nice morning workout. Shraddha’s singing, be it the miracle of some autotune or natural, is marvelous. She hits every note with perfection, and doesn’t falteer at any step, as I thought she would. (Like she did in ‘Sab Tera’ from ‘Baaghi’ where she was quite too high-pitched). Javed Akhtar’s lyrics are good here too, and motivational. A show-stopper of a song, mostly because of the arrangements and vocals, while the composition yet again, falls a bit flat. Nevertheless this one is a #5StarHotelSong!!

 

3. You Know What I Mean
Singer ~ Farhan Akhtar

A very happy-go-lucky guitar riff starts off the next song, which instantly reminds you of ‘Socha Hai’ from the first movie. The composition here too, is quite bland, though being so upbeat. The mukhda repeats twice in the song, while the hookline is just plain said, not sung. The antara is better than the mukhda, in that it has a more mellifluous composition. The arrangements are spunky, led by guitars and drums (Aatur Soni) again, and with the 2008 style of rock all around them. Theres not much more to talk about the composition and arrangements, because they are quite ordinary! In the interludes, however, there’s the usual nice rock guitar solos, that still sound impressive (that’s just because this is just the third song in the album) :p The hook where the backing vocalists sing “Oh-ohhh” sounds very clichéd, and also outdated. Farhan’s voice doesn’t help to elevate the pallidness of the song, because here, it is husky and very tedious to hear. Thankfully, the makers have kept the song short. Javed Akhtar’s lyrics are so conversational, that it seems awkward at a point. When you experience déjà vu in such a youthful song, it means things are wrong, because the song is so plain!… You know what I mean! 😉

 

4. Manzar Naya
Singer ~ Farhan Akhtar

Here comes Farhan yet again, with another song, this time, a dulcet romantic melody. The composition is very pleasant and breezy — something that normal people in the real world (not characters in Bollywood) would compose and sing impromptu. The pleasantness of the composition actually works for it this time, and the trio churns out a very plain, simple song that touches your heart. The mukhda hooks you in all its simplicity, while the hookline very nicely blends in with the song, though reminding you of a lot of other such songs. The antara has quite some high notes, which, surprisingly, Farhan manages to touch rather smoothly. At the end, the mukhda repeats, and the song ends just as calmly as it had started. Talking about the arrangements, Shankar-Ehsaan-Loy have very beautifully employed a guitar riff that plays throughout the song, and is the USP of the song! (Do they need a riff to do that for them every time!? This is getting quite repetitive, but still wonderful!) But again, Shankar-Ehsaan-Loy are the best at those small riffs, be it vocal riffs or guitar riffs or wonderful percussion riffs. Speaking of percussion, the wonderful percussion (Anupam Deghatak) of shakers in this song brings that nice soothing quality to the track. The whistle in the interlude, instantly reminded me of that tune from ‘Teen Gawah Hain Ishq Ke’ (Mirzya), but then it dissipated and changed paths smartly and quickly. Backing vocals are beautifully placed in the antara, and the second mukhda. A female voice that seems to have gotten lost in the song suddenly appears somewhere towards the end, and that was quite weird, because it didn’t appear anywhere else before or after. Stray voice unleashed!! The vocals by Farhan are husky and faltery here too, but nevertheless, perfect for this type of song, which needed a faltering voice, as it was supposed to emulate normal people, and not Bollywood characters. 😛 Jokes apart, Farhan sounded good here, and the high notes in the antara particularly sounded well polished. Javed Akhtar’s lyrics are just as simple and normal as anything else in the song. Pleasing, calm and above all, normal! #5StarHotelSong!!

 

5. Tere Mere Dil
Singer ~ Shraddha Kapoor

So after three songs by Farhan and one by Shraddha, one more song by Shraddha pops up on the album, and this one is just pure bliss. The “Tu Tu Tu Ru Ru Ru” vocal loop wonderfully opens the song up, and likewise, this is the USP of this song, and Shankar-Ehsaan-Loy once again rely on this loop to carry the song. The mukhda is very well-composed, and oh-so-melodious. Technically the title of the song is in the mukhda, while the hookline is different — “Saari Jo kahaaniyaan hain..” and both the a and the hookline sound great in their own place. The hookline takes the song to a high, from where it never drops down. The whole magic of the composition is just so magical and entrancing, and it is the only song on the album which instantly reached out and hooked me. The ANTARA is also very beautiful, with a great assemblage of notes that complement the hookline and the entire song very well. So, the trio scores full marks with the melody of this song, but they still resort to the vocal loop to carry it forward.. Why!! Anyway, the arrangements are beautiful. A wonderful sarod helps Shraddha to make the song sound even more magical, playing the tune of her vocal loop itself. The rock plays a very little role in this song, though I guess the digital beats in the hookline are supposed to resemble the rock sound. However, the electric sarod replaces the guitar really well. The whole song has a similar sound to that of ‘Udja Re’ and also ‘Tumhari Meri Baatein’ from the first film — entrancing and mystical. Shraddha’s vocals are mystifying as well, and here, though it is evident that she has been autotuned, the whole thing just appeals nevertheless. The programming does justice to her rendition, and the trio has spun magic with their technical touches. Javed Akhtar, yet again, writes a good song, this time with a more melancholic feel to it. ‘Tumhari Meri Baatein’s equivalent fares far better than ‘Socha Hai’s equivalent. Shankar-Ehsaan-Loy bring a quite otherworldly feel to this one! Mystical! #5StarHotelSong!!

 

6. Woh Jahaan
Singers ~ Farhan Akhtar & Shraddha Kapoor

So here comes the long-awaited duet between the two lead singers. Now, even though these two have sung enough songs on the album already, I am not feeling any tedium, because the film actually calls for it.. So we can’t really complain. At least the lead actress isn’t Tulsi Kumar, and the lead actor isn’t Abhijeet. This time too, the composition is very mystical, and a kind of melancholia surrounds the whole song, but not the kind of tedious melancholia that gets you bored right away. This time, the melancholia actually works. The mukhda sees Shraddha start off the song, on a beautiful note, with the trio’s low notes working nicely to attract your attention. However, it is only when the hookline arrives, that you actually start getting the hang of the song and grooving to it. This time, the trio doesn’t rely on any instrumental piece to carry forward the song, and this one has pure melody taking it forward. The hookline has a mind-blowing composition. As Farhan takes over with the second stanza, which has the same composition as the first, you start drifting away a bit from the song. His portions aren’t as interesting as Shraddha’s and his voice (in this song) doesn’t really have that capacity to keep listeners listening. His part starts off the same way that Shraddha’s does, but then takes a different turn, as the tune changes as he progresses towards the hookline. After that, it is merely an instrumental piece to listen to, which ends the song on a high. More about that later. The arrangements are impressive in this song. A wonderful sarod (Soumik Dutta) takes centre-stage here too, while the rock elements keep entrancing you. The guitars are impressive as always (here taking a number of impressive variations), while the drums (Darshan Doshi) are just as intriguing. The interlude between Shraddha’s and Farhan’s stanzas, has that wonderful sarod piece, accompanied by piano, as well as a nice shaayari by Shraddha. The piano accompanies the singers well in the stanzas, and then hands over things to the rock instruments. At the end, as I said before, there is a wonderful instrumental piece which just keeps you hooked. There is another wonderful electric guitar solo there, which makes sure you don’t go anywhere. The backing chorus with their chants nicely helps the instrumental piece get more interesting, and it ends with a striking guitar strum. Javed Akhtar’s lyrics are at their philosophical best, and he really weaves up a thought-invoking poem. Another mystical composition, which unfortunately gets highly tedious in the middle. Arrangements propel the listener through the tedium.

 

7. Hoi Kiw / Chalo Chalo
Singers ~ Usha Uthup, Kit Shangpliang & Pynsuklin Syiemiong, Co-Composers ~ Summersalt, Khasi Lyrics by ~ Kit Shangpliang

The next song finally sees some other singers taking the mic. And who else it is but the bold-voiced Usha Uthup? Along with a North-East Indian band called Summersalt, two of whose members accompany Usha on the vocals front. The composition for this one is quite fun and upbeat, but again, just as ‘You Know What I Mean’, I couldn’t quite catch hold of it. It might sound stupid, but I felt that the composition was just too typical, and reminded me of some European folk song. I found nothing in the composition that was hooking in any sense, and the hookline seemed very passable. The Khasi portions were fun to hear, but then it is not something I would hear again and again, either. The vocals by Usha Uthup seemed overshadowed by the Khasi band, whose lead male singer, Kit Shangpliang really excelled in the vocals. Usha seemed sidelined like a side attraction in the song, while the female Khasi singer barely had much of a scope to open up. The arrangements were pleasant, with the folksy duitara (Adorbha C. Shangpliang) sounding very nice and groovy. The rock arrangements in this song were quite similar to those in ‘You Know What I Mean’, and I found it quite boring. The Hindi lyrics were good, and depict a very free nature, while it was fun to hear the Khasi lyrics and not understand them. Very mixed feelings about this song…

 

8. Ishq Mastana
Singers ~ Digvijay Singh Pariyar & Shankar Mahadevan

This next song seems like such a misfit in this album.. But I’m still gonna review it as if I am a robot who can’t really make that out. The composition seems like a song that just ran away from the ‘Mirzya’ album and made a home for itself in this album — maybe a rejected song that was supposed to be there before ‘Hota Hai’. 😛 Or maybe an unused song that was lying around since the days of ‘Mission Kashmir’. The angsty feel in the song makes me feel this song isn’t going to be one that the band in the movie performs, but it might be a background song, which plays at a critical point in the storyline. The composition is quite interesting, a typical Shankar-Ehsaan-Loy Punjabi folk composition, which has a very catchy hookline. The rest of the composition is quite low-key and ordinary, something that didn’t really compel me to listen to it over and over again. The arrangements are fantastic here as well (tired of saying this so many times!) The keyboard (Gulraj Singh) which very professionally tries to imitate the tumbi, is the USP of this song, and it does a good job too. The rock element, though, is surprisingly the best part of this folk misfit. The rock guitars (played here by Ehsaan Noorani) and drums (Aatur Soni) always go well with a nice Qawwali-esque folk composition, and that is evident here too. The bass (Dibyajyoti Nath) really stands out here, which it didn’t in the previous songs. The percussions (Anupam Deghatak), mainly tabla, stand out well, but sound very clichéd and heavy. The dhols (Hanif Dafrani & Aslam Dafrani), which seem to be remnants of Shankar-Ehsaan-Loy’s ‘Hulla Re’ (2 States), really do a great job in catching the listener’s attention. Meanwhile the dholaks (Prasad Malandkar) fail to reach out in the hard-hitting rock. The vocals are amazing too, with Digvijay Singh (the one from ‘Jaago Mohan Pyaare’ from ‘Katti Batti’) overshadowing Shankar! His voice is simply magical! However, Shankar shows his finesse in the high notes and aalaaps. Javed Akhtar’s lyrics are not excellent, but they’re good here. A song that doesn’t fit into the album, but even if I judge it without knowing that, a song with a very underwhelming composition for a Punjabi folk song! The only great thing here is the arrangements, AGAIN!

 

♪ Extra Song – released by T-Series

9. Rock On (Revisited)
Singers ~ Farhan Akhtar & Shraddha Kapoor

Since the first album was on the T-Series music label, of course T-Series retains the rights for the remake to the title song, and so this track released separately later on. This could well have been the first promotional song of the album, but the makers chose ‘Jaago’ instead. On a whole, the overall sound of both the songs is the same, and the electric guitar riff that is the USP of the original song, gets a makeover here. It was broken down like staccato in the original song, whereas here, it is a complete, flowing guitar piece. I liked the change, it sounds fresh. The new composition is good too, especially the mukhda, which instantly drew me into the song. The hookline is already a favourite of the nation, and I can’t really comment anything else on that, as it is wonderful. The antara is beautifully composed as well, and continues the original hookline, not to mention supports it, well. The arrangements are, as in the rest of the album, electrifying. The electric guitars and drums (Darshan Doshi) yet again, provide the awesome rock feel to the song, without making it too boring. Again, a nice guitar solo graces the interlude. The vocals though, is where the song could’ve been a bit (a lot???) better. Farhan sings well, and I can’t really say much since he sang the original song, but I couldn’t help feeling that after the “Zindagi milegi na dobaraaa”, he sounds as of a ghost has suddenly possessed him or he is suffering from a sudden chill. I don’t know..! Shraddha has sung her parts very flatly, and it could’ve been way better. Well, yes, it kind of brought the raw feel to the song, but I would’ve enjoyed it if it were technically right as well. Javed Akhtar’s lyrics suit the youthful craze of the song, and will do well. A good revamp of the title song, and I really can’t expect more than this for this remake, so it is a #5StarHotelSong!!


Rock On 2 is a very underwhelming album. I started listening to it with a lot of hopes, thinking Shankar-Ehsaan-Loy would repeat the magic of the first album, and also because of their recent release, ‘Mirzya’, which was beauuuutiful. However, the trio seems to have delivered some quite stale songs. When an album I expected so much out of, disappoints in this way, I start doubting myself. 😬 The songs really fail to strike that chord, barring a few of them. The others rely on gags like a repeating guitar riff to propel them forwards. On a brighter note, a thing I noticed about the album is how Shraddha’s songs (except the title track) are mostly the mellow, sobre and melancholic types, while Farhan’s are the upbeat ones. Maybe it has something to do with Shraddha’s character in the movie, who isn’t allowed to explore herself as a musician owing to her parents’ restrictions. But I noticed that and found it worthy to be pointed out. Also noticed that Shankar-Ehsaan-Loy seem to be struggling with modern-day and normal-life-movies albums after their comeback. ‘2 States’ and ‘Dil Dhadakne Do’ being an exception, their other albums for rom-coms and other urban-themed movies have been underwhelming, like ‘Katti Batti’, ‘One By Two’, and ‘Ghayal Once Again’, and now this. On the other hand, they composed awesome music for period films and films with a different theme. So I guess that that has become their weak point over the years. Anyway, when such a talented trio disappoints you can’t really do anything (because you know it is not going to happen again and again) but wait for their next album in the hope of it being better than the last! Rock mode is definitely ‘off’ for this one!

 

Final Rating for This Album: सा < रे < ग < म <  < ध < नी < सां

Note: The letter which is underlined is the final rating.

Recommended Listening Order: Tere Mere Dil > Udja Re > Manzar Naya > Rock On (Revisited) > Jaago > Woh Jahaan > Ishq Mastana > Hoi Kiw / Chalo Chalo > You Know What I Mean

 

Which is your favourite song from Rock On 2? Please vote for it below! Thanks! 🙂

 

Next “dish”: Tum Bin 2, Chefs: Ankit Tiwari & Nikhil-Vinay 

EPIC AND LEGENDARY!! COME FALL IN LOVE.. WITH THIS ALBUM!! (MIRZYA: DARE TO LOVE – Music Review)

Music Album Details
♪ Music by: Shankar-Ehsaan-Loy
♪ Lyrics by: Gulzar
♪ Music Label: T-Series
♪ Music Released On: 8th September 2016
♪ Movie Released On: 7th October 2016

Mirzya Album Cover

Mirzya Album Cover

 

To hear the full songs of this album on Saavn CLICK HERE

To buy this album on iTunes CLICK HERE


Mirzya – Dare To Love is an upcoming Bollywood romantic period drama, directed by the famous Rakeysh Omprakash Mehra, and produced by Rohit Khattar, Rakeysh Omprakash Mehra, P.S. Bharathi and Rajiv Tandon, and Cinestaan Film Company. The film stars new talents Harshvardhan Kapoor (Anil Kapoor’s son) and Saiyami Kher (Tanvi Azmi’s niece). The film is inspired from the famous Punjabi folklore of “Mirza-Sahibaan”. Well, after great movies like ‘Rang De Basanti’, ‘Delhi-6’ and ‘Bhaag Milkha Bhaag’, I’m sure Rakeysh Omprakash Mehra has put in more than his best for this ambitious film, and I was hoping this magnum opus worked out well; sad that it didn’t! Meanwhile, we got to enjoy the music of the film, and whether the film works or not, we are always here to enjoy the music, which is expected to be great, just like all of Rakeysh’s other film’s music was. Seeing how successful his decision of roping in the most successful musical trio of Bollywood, Shankar-Ehsaan-Loy, turned out in his last outing ‘Bhaag Milkha Bhaag’, Rakeysh ropes them in for this ambitious project as well. But this time, he changes his usual lyricist Prasoon Joshi, and ropes in the mastermind Gulzar, who had also worked with him on his first film ‘Aks’. Gulzar was the perfect choice when it comes to a movie like this; clearly, a theme-based movie, which will need songs strictly following its narrative. Another point I would like to note is that Daler Mehndi has scored the background music of the film, and six of the fifteen tracks in the album are his background vocal tracks — less than a minute long, and nothing that can be described individually, so I would advise you to hear them while watching the movie if you don’t like such tracks. First of all, let’s see how Shankar-Ehsaan-Loy’s nine tracks constituting the actual reviewable part of the album fares! Hopefully, Shankar-Ehsaan-Loy shoot the arrows right on the bullseye!


1. Mirzya
Singers ~ Daler Mehndi, Sain Zahoor, Akhtar Chanal, Jyoti Nooran & Sultana Nooran, Chorus ~ Shankar Mahadevan, The Salvation Singers, Nikita Deshpande & Sapna Pathak

The title track arrives first on the album, and it is something that will leave you awestruck by the end of it. It is Pakistani folk singer Saieen Zahoor (spelled by T-Series as Sain) who gets to open the track, and his voice is very representative of the setting and locale of the film — a rural area. It is fascinating things such as this that constitute the best moments of the song. Shankar-Ehsaan-Loy seem to have taken great efforts in making this one what it is. The song is a great showcase of beautiful folksy rhythms and melodies, and I’ve never seen the north-western folk music represented in such a beautiful way in films recently (Thank you, Badshah and Yo Yo Honey Singh!) All the singers associated with this song are natives of that region, but surprisingly, the music-makers themselves, aren’t! What a magnificently remarkable work they’ve done! The composition has many layers, tones and undertones. At first listen, it sounds like a very happy-go-lucky folk song, until you start noticing the sinister and emotional undertones too! The song starts with Saieen’s folksy voice singing a verse that hookss you instantly, and then his wonderful “Mirzyaaaaa hoo-ohhh” starts off the actual song. Daler Mehndi steps in, with all his energy focused onto the song, bringing out a brilliant performance. His famous high notes don’t fail to fascinate here either. The hookline is genius at its peak. The mukhda has Daler Mehndi singing an awesome high-pitched portion, and along with Saieen, he carries it out with impeccable finesse. But the high point a of the composition is whenever Daler sings “Oh mirzyaaaa“. The “Gol gol ghume zameen…” line, too, has been composed beautifully. The antara is led by the Nooran Sisters, and their part is very cuteand likable. Akhtar Chanal is in there somewhere, not getting much scope to shine individually, but I’m sure his voice is making a difference somewhere or the other. The backing vocals are beautiful, and their roles are so important in making the song what it is. Towards the end, they sing a wonderful, dreamy portion that goes like “Sunn teri oh dastaan re mirzya“, and it is so good!! The Salvation Singers’ intermittent vocals in between the lines of the song, are too good to miss. This is one of those songs where the backing chorus plays a very important role. Coming to the arrangements by Shankar-Ehsaan-Loy, they are very energetic and catchy. The rhythms by Taufiq Qureshi instantly catch your attention, and you can’t forget the rhythm on which the song is composed. The dhadd plays throughout the song, infusing the Punjabi touch to it, while the earthy string instruments are something you don’t get to hear everyday. Towards the end Naveen Kumar’s BRILLIANT flutes and pungis play a very upbeat folksy piece which makes you smile. At the end of the song, you just can’t help but think how skillfully Shankar-Ehsaan-Loy have crafted the music and composition for this song. Gulzar’s lyrics are clearly folk lyrics out of which we can understand some things here and there, and so it might appeal to less people, but I loved whatever I could discern! The way he has employed a story-telling manner to put forth the legend of Mirzya, is commendable. A title track that is as legendary as the legend it is supposed to be describing! Something as fascinating as this can simply not go unnoticed or unappreciated!! #5StarHotelSong!!

 

2. Teen Gawah Hain Ishq Ke
Singers ~ Siddharth Mahadevan & Sain Zahoor, Chorus ~ The Salvation Singers & Loy Mendonsa

The sound of a woodwind opens up the next song and you can easily understand that this one is going to be a fresh romantic song with a folksy aura to it. Sure enough, that is just what you get. It is Saieen Zahoor again, who gets to start the sing off with a very enchanting couplet, that made me get goosebumps. And what follows is pure bliss. Shankar-Ehsaan-Loy get it right with the composition, a breezy and enjoyable one which is as fresh as you can imagine. Of course, the trio has excelled in making these songs, but this one seems to top them all. The composition is a breeze of fresh air. After Saieen’s couplet, Siddharth sings a wonderful vocal rhythm which goes ‘Tannanaa Nannanaa” and the wonderful Salvation Singers accompany him in the “Hoo-oh-ohh“. The mukhda is something that instantly gets you hooked. The hookline is entrancing, if not anything else. The low notes of the mukhda make you ready for a very soft and quiet song which stays in the low notes for the whole time, but the antara is an exception, where the trio expertly let the composition traverse into high notes, and it sounds equally tranquil. Towards the end, Saieen does a wonderful closing aalaap, which is worth looking out for! The Salvation Singers and Loy do a wonderful job in supporting Siddharth, who is clearly at his best here. The man usually gets high-pitched, high-energy, dynamic songs where he is forced to yell (though it sounds good, nothing against that!) but this seems to be the very first song where he has actually been able to sing in a normal pitch, voice and without risking his throat! 😀 And the result? It is a very melodious, mellifluous voice that I couldn’t ever imagine Siddharth Mahadevan producing! Leave it up to Shankar-Ehsaan-Loy to discover new singing styles in singers, even if the singer is the son of the first third of the trio. 😀 It is the arrangements that add the necessary charm to the song. With those guitar riffs playing throughout the song, it is impossible to not get lost in the music! It is Shankar-Ehsaan-Loy’s trademark, those riffs! In each song they have some or the other musical loop, be it that vocal one in ‘Mera Yaar’ (Bhaag Milkha Bhaag) or the digital one in ‘Gallan Goodiyan’ (Dil Dhadakne Do) which starts off the song. Along with those guitars, the trio has a wonderful folk percussion instrument called the dimdi (played by Abhay Rumde) which helps to get the folksy feel. There are other sounds like chinks on glass, which must be the genius of Taufiq Qureshi at work. 😀 It is the backing chorus made up of the Salvation Singers and Lot that make the song as breezy as it is. Last but definitely not the least, Gulzar’s lyrics come into picture. What a brilliant hookline he has written! “Teen gawah hain ishq ke, ikk rab hai, ikk tu, aur main!” (There are there witnesses of love, one is God, and you, and me!) I don’t know where he gets such ideas from, but much to our enjoyment, he gets them anyway! 😀 Shankar-Ehsaan-Loy ace this one, and deliver what must be the breeziest love song I’ve heard in a while! Kudos to Siddharth Mahadevan for showing this side of him! #5StarHotelSong!!

 

3. Chakora
Singers ~ Mame Khan, Suchismita Das & Akhtar Chanal, Chorus ~ Shankar Mahadevan & Suchismita Das

You would be a nasty, ugly little liar, if you said that you weren’t waiting for some or the other kind of a dance track in this movie. When it’s a folk-themed movie, based in Rajasthan, and when you have composers like Shankar-Ehsaan-Loy on board, wouldn’t you be eager to hear a dance song? Yes you would, at least I think you would. And so, the next song presents itself as a folksy dance track. Of course, there can’t be a straightforward dance track when it comes to Shankar-Ehsaan-Loy either! They have to twist it some way or the other. And so what do they do? They conveniently infuse techno beats into the Rajasthani folksy song. And the result is stupendous!! The composition has the very much necessary folk touch, and calls out to you right away. The mukhda starts with a very enticing “Arey Haalaaaaaa” by Mame Khan, a contemporary folk artist who has sung in Coke Studio Season 2 for Amit Trivedi, indicating that a folksy melody is following. The mukhda is very catchy, and both Mame Khan and Shuchismita Das sing wonderfully to make it sound entrancing. The hookline, “Lipat lipat chal gayo re dola” is sooooo good! The trio has made up a very appealing melody for that. The antara is made up of many twists and turns, all of which just make the song sound even more beautiful. With one singer singing half a line, which is later continued by the other singer, this part is definitely not to be missed! The song may be raaga-based, but it really doesn’t seem to be, with the arrangements that the trio has given. A wonderful techno sound has been added to the song, reminiscent of the times when the trio has introduced such songs to Bollywood, and in particular, the entire sound reminded me of ‘Koi Kahe Kehta Rahe’ (Dil Chahta Hai). The other folk instruments play an important role in making the folk aspect of the song stand out — particularly the percussion. The vocals are magnificent, though I do bear a grudge against Shankar-Ehsaan-Loy for having autotuned Mame Khan’s voice! 😦 It sounds good autotuned too, but I feel the folksy aspect would’ve stood out if it had been left as it was. Suchismita sings wonderfully as she always does, but gets little space to be noticed among Mame Khan’s wonderful singing. Akhtar Chanal, once again, is sidelined and I think he’s the person who sings those mystical-sounding chants at the start of the song, which I thought sounded a lot like Gulzar! 😀 Shankar Mahadevan’s backing vocals are amazing, and he leaves no space empty, making sure every second of the song is filled with some sounh or the other! Gulzar’s lyrics are great, here as well, perfectly describing love in a very metaphorical manner. The underlying suggestion that the line “Aasmaan par udey chakora, chaand pakadne jaave, ishq udey jab tez dhaar pe dono pankh kataave” gives, also explains the pain of the two lovers. A fun song, with undertones of emotion and love! Genius stuff from Gulzar, and brought to life very effusively by Shankar-Ehsaan-Loy, Mame Khan & Suchismita Das! #5StarHotelSong!!

 

4. Aave Re Hitchki
Singers ~ Shankar Mahadevan & Mame Khan, Chorus ~ Sapna Pathak, Arsh Mohammed, Rehan Khan, Firoz Khan & Farhan Sabri

When the gratifying sound of the sarangi opens a song, the song more often than every time, turns out to be a very beautiful one. And this one is another song which can be added to that list. The song wonderfully starts off with an enchanting sarangi piece, played by Mame Khan’s troupe. And then the roopak taal sets in to make the ambience more soulful and soothing. It is the first line of the composition itself, that brings out the goosebumps. The tune is so sweet and charming, that you just can’t NOT like it. The way the mukhda is made up of three parts, the first one being the first line, “Nidra mein kisne...”, the second being “Sandesa aayo na chhithiyaa bhijayi…” and the third going on a different scale and tune with “Dhoop mundhere chadh gayo dola..“, is a masterstroke idea. And the hookline, oh!! It is so charming, that you end up falling in love with it by the time it has played twice. There are actually two very wonderful hooklines or refrains in the song — the title of the song being one, and the second being a just as wonderfully composed (in fact, sounding better!) “Talaiyya sookhi, keekhar sookha, bheetar sookha re“. The seamless transition from each line of that hookline, is what makes it so beautiful. The antara traverses very calm notes, that instantly connect with the listener. And towards the end there’s a wonderful bit of the song, which goes “Mann tarse, ghan barse“.. And the way the trio has composed these two words in so many different tunes, also with the tune of the hookline, is such a pleasure to hear! 😀 What can I say about the vocals? Shankar Mahadevan is at his graceful best. The RAAGA-based composition couldn’t be sung better by anyone but him, and I particularly loved how he sings the high notes! The backing chorus effusively sings the hookline, and makes it stand out amazingly. The arrangements are nothing to miss, either! The trio has appointed a number of instruments to help to make the song sound grand. I must bring out the sarangi, (by the Mame Khan Troupe) which has been played the most beautifully throughout the song. One part in the interlude where the hookline’s tune has been played on the sarangi, is just awesome. And then there are the brilliant, BRILLIANT guitars (Neill Mukherjee) which support the composition on every note. The Spanish Guitars in the interlude particularly, are worth hearing a million times! Dholaks (also by the Mame Khan Troupe) are also great. But one of the most intriguing sounds in the song, is Shankar Mahadevan’s flawless “HICHH!” in one of the hooklines, which you really have to watch out for! 🙂 Gulzar’s lyrics are worth a salute, and I can’t really say anything much except that you should go and hear them and also try to decipher them, and when you do, wait for the smile that’ll come on your face! 😀 A masterpiece from Shankar-Ehsaan-Loy, fit for repeat listening, and wonderfully bringing out the rajasthani folk part of the movie! #5StatHotelSong!!

 

5. Hota Hai
Singers ~ Jyoti Nooran, Sultana Nooran, Saieen Zahoor, Akhtar Chanal & Daler Mehndi, Chorus ~ The Salvation Singers & Shankar Mahadevan

The angst in the album was missing, until this song comes along in the playlist. The way it starts, you wouldn’t think it would turn into a sinister, dark-sounding, angsty song later on! The Nooran Sisters start off with a very groovy vocal beat, which is basically Shankar-Ehsaan-Loy showing off at how well they compose such groovy vocal loops. This song is the song around which the gist of the story is centered. The line “Chot kahin lag jaati hai par zakhm kahin par hota hai” is the tagline of the film, and Shankar-Ehsaan-Loy wonderfully incorporate it into the song. The way the composition is not delimited by a fixed tune, and is rather flexible, in that the folk singers can be seen at their liberty to sing anything anytime, is just fabulous. I personally loved the way Akhtar Chanal & Saieen Zahoor interrupt throughout the song with weird vocals, that actually bring you to like the song even more. But the song belongs to the Nooran Sisters, who are at their best in bringing a whole different kind of suspense to the song, and vivaciously bring forth the ideas of Gulzar saab. The composition itself is filled with very dark undertones and the dark sound of it all does nothing but attract you. There is a wonderful line in the song sung by Shankar Mahadevan along with the Salvation Singers. And to top it all, at the end, Daler Mehndi comes back with his hard-hitting “Ohhhh mirzyaaaaa” from the title song. The composers have made sure that the composition, despite all of its unconventional-ness, reaches out to the listener and grabs him, not instantly, but a bit more each time. It is the awesome arrangements that give the song half of its greatness. The techno beats and the typical Shankar-Ehsaan-Loy club beats fuse with a mesmerizing folk act by the Nooran Sisters, Saieen and Akhtar. The sarangi (Delshad Khan) in the interlude is just wow. And then there are the khartals (Mame Khan Troupe) which attract your attention. And the harmony between Jyoti and Sultana Nooran is unmatchable! Gulzar’s lyrics are all about how love is deceptive and blah blah, but the way he has portrayed it, is worth listening. Something unconventional, that might not get the desired praise and acclaim, but definitely touched my heart! #5StarHotelSong!!

 

6. Ek Nadi Thi
Singers ~ Jyoti Nooran, Sultana Nooran & K. Mohan, 

This song starts with a wonderful heart-touching aalaap by one of the Nooran Sisters (really can’t distinguish which one!) The real magic though, starts when Mohan Kanan with his very deep voice starts to sing the sweet melody of the song, and it is from this moment that you really start grooving to the song. The beats too, are worth grooving to! The song is arranged on nothing but acoustic guitars and claps and snaps, giving a very homely and minimalistic feel to the entire affair. The composition by the trio is so catchy and absorptive at the same time, that you just can’t forget it once you hear it. The hookline is just something that seems to have come from the composers’ hearts. The antara continues the freshness of the song, and the harmony that the Nooran Sisters create with K. Mohan, who is probably the only lead singer on the album who is not known for folk, is pretty awesome! The high notes touched by the Nooran Sisters and the low notes rendered by Mohan, complement each other very well, despite so much contrast. I can hear Shankar Mahadevan leading the Salvation Singers in the background, and it sounds so beautiful, that sometimes, you will find yourself focusing more on his parts than the parts of the lead singers! I wonder why T-Series hasn’t credited them like they have for the other songs! The arrangements mesmerize you with their simplicity — who has ever heard a song arranged merely on acoustic guitars and claps and snaps, when the song is in an album made for a folksy movie? Well it is allthe work of the mastermind percussionist Taufiq Qureshi! Towards the end, the two entities, Nooran Sisters and K. Mohan, perform a wonderful harmonic interpretation of the hookline, with one of them saying one line and the other following the first, with the classic style of starting right in the middle of the first singer’s line. Gulzar’s words make it known that the nadi (river) that he’s talking about is Sahibaan, and he has woven a metaphorical story around her through the song. Simplicity takes over in this otherwise quite complicated album! #5StarHotelSong!!

 

7. Doli Re Doli
Singers ~ Shankar Mahadevan & Mame Khan

The wonderful opening lines sung by Mame Khan bring an opulent start to the next song, which is a very unconventional bidaai song! The opening lines by Mame Khan sound like the start of a garba, but then stop sounding like one almost at once, and when you get to know, much to your disappointment that the song isn’t a garba, you get excited on knowing that it is, indeed, a soft jazz song! Yes, you read it right! A bidaai song with a jazz backdrop! After Mame’s introduction is over, Loy’s keyboard comes in and steals the show, coupled with a wonderful trumpet (Victor Garcia) that was definitely not anticipated! And while all this magic is happening, Shankar is busy at the mic, singing a tranquilizing aalaap. When the first line of the melody hits you, you can’t believe your ears for a minute, but then your ears decide to digest the fact that the composition is so melodious, and though it has a sad undertone, you can’t help feel your mood lightened up a bit after hearing. The classical-based composition coupled with the emotional soft jazz arrangements consisting of showstopping keyboard solos by Loy, not to mention the drums (out of which the cymbals are played oh so wonderfully! — credits to Kalyan Pathak). The signature melodica played by Shankar himself, is the epitome of classiness in the song. That brings us to the vocals which are by Shankar too, and couldn’t be better! I can’t praise him enough for this song! The way he brilliantly breezes through those aalaaps in the song (they’re almost everywhere — try to locate each and every one of them, as they’re not to be missed!) Gulzar, on the other hand, writes away at a heartrending piece of poetry, which puts forth the sentiments of the bride during bidaai, very well. Lines like “Chaukhat pyaar Jo pair dhare toh, main len den chukayo baabul” (I have repaid all the debts to my parents after I cross the threshold of their house) tell you why Gulzar is such a renowned writer. 🙂 The sweetness of the album reaches a new level with this song. Something that is as unconventional as this, has to be par excellence! #5StarHotelSong!!

 

8. Kaaga
Singer ~ Kaushiki Chakraborty

After all that folk and the jazz of the previous song, you’re really not ready for what awaits you in this song. As soon as it starts playing, an opulent symphony strikes you and you feel as of you’re in some orchestra performance, where one of the stalwarts like Mozart, Beethoven, Bach, Chopin, Haydn and the like. The violins really fill your heart and mind with some pleasing and soothing quality, but also leave you craving for more after it all ends. BUT WAIT!! We haven’t finished yet! I still have to tell you about the start! So, back to the beginning of the song. After that wonderful symphony — which, sadly, T-Series and Shankar-Ehsaan-Loy haven’t given any sort of musician credits for (which is simply not done, okay! You don’t NOT give musician credits for some song I really wanna know the musician credits of! 😦 ) — so yeah, after that symphony, a sweet twinkling sound (xylophone most probably) takes you to the main melody of the song, and who waits for you there? The fantastic classical singer, the majestic Kaushiki Chakraborty. With her each and every note, she manages to take away some fraction of your breath, and that’s why you call it breathtaking! Her AALAAPS are simply amazing, and it is her magnificent vocals that decorate the already magnificent composition and arrangements by the trio. Wonderful use of strings and the flute, makes this song what it is. The brass portions give a very otherworldly feel, and you feel as if you are in outer space. Gulzar’s lyrics are nostalgically refreshing! Something in which Kaushiki, Shankar-Ehsaan-Loy, and Gulzar, all are at their very best! And special bows to the musicians!!! #5StarHotelSong!!

 

9. Mirzya Theme – Broken Arrows
(Instrumental)

To end the album, we have an instrumental that is bound to get you teary-eyed, to the extent that even if you’re in Shangri-La while listening to it, you will get that inabominable feeling of pain and hurt in your heart. Shankar-Ehsaan-Loy yet again bring in the strings — this time the violin, to bring out the emotion in the piece. The trio cleverly takes the backing chorus’ humming tune from ‘Teen Gawah’ and weaves it into a mellow, sombre and emotional piece, which is quite brimful of emotions. The violin does the job in the first half of this piece and in the second half, the relay is seamlessly passed on to the flute, which is the best choice ever! Again, T-Series and the trio haven’t provided any musician credits of any sort, so I take it for granted that they played the instruments themselves. Anyway, it is a beautiful way of the composers and director telling us that all that happiness in the ‘Teen Gawah’ sequence was just illusory, so don’t pay it any attention, because we all know the fate of Mirza and Sahibaan. A track that will play in the back of your head in your free time and try to make you feel like you’re in a movie and your life is depressing, so try to limit that depression to the characters of the movie and listen to the song, to have a wonderful experience! Emotion at its best! 🙂 #5StarHotelSong!!


Mirzya – Dare To Love is an album that really forces you, not dares you, to love it. Nine wonderfully arranged musical pieces with awe-inspiring vocals by attractive rustic voices, coupled with groovy beats from the maestros Shankar-Ehsaan-Loy and the vision of a mastermind like Rakeysh Omprakash Mehra, makes this album one to die for. The choice of singers is fantastic — Shankar-Ehsaan-Loy gather up a team of folk singers and wonderfully employ them throughout the album. The Nooran Sisters and Saieen Zahoor, particularly, strike gold through this album. The Noorans spectacularly make their presence felt throughout the album. The two Pakistani folk singers, Saieen and Akhtar Channal, though they get less scope, don’t fail to impress you, while Mame Khan and his musician troupe, hailing from the deserts of Rajasthan, amaze you with their rustic vocals. The two very smooth-textured voices on the album, Suchismita Das and Kaushiki Chakraborty, both from West Bengal, do magic in their relatively small roles on the album. K. Mohan and Siddharth Mahadevan, practically the only commercial singers of the new generation on the album, do a splendid job in their respective songs, though the Noorans do overshadow Mohan in his song. Shankar Mahadevan himself spectacularly sings two of the songs, which are two of my favorites from the album too! Not to mention the wonderful harmonies of The Salvation Singers!! Just splendid! 😀 And last but not the least, Daler Mehndi with his splendid baritone voice surpassing all with his rendition of the title song, and his theme tracks that are interspersed throughout the album. A special mention to his voice that goes “Ohhhh mirzyaaaaaaaa” at the end of every television promo of the movie. 😍😍😍😍 When will the goosebumps get to sleep!? Gulzar’s words perfectly make this album a repeat-listen-worthy album, and it is in albums like this that my emotions overflow so much and I rave about the album, not noticing that my “conclusion”, which is supposed to be the shortest part of the review, is just a complete introduction altogether. I guess that the last time I did so was in ‘Bombay Velvet’. So, without further ado, let’s go on to my verdict! This miraculous album will make you fall in love… With itself!

 

Final Rating for this Album: सा < रे < ग < म < प < ध < नी < सां

Note: The letter which is underlined is the final rating.

Recommended Listening Order: Why ask!? Why rub salt on my wounds!! 😢😢😡

 

Which is your favourite song from Mirzya – Dare To Love? Please vote for it below!

BAAR BAAR, BAAR BAAR, BAAR BAAR SUNO!! (BAAR BAAR DEKHO – Music Review)

Music Album Details
♪ Music by: Amaal Mallik, Jasleen Royal, Arko Pravo Mukherjee, Bilal Saeed, Prem Hardeep & Badshah
♪ Lyrics by: Prateek Kuhad, Kumaar, Arko Pravo Mukherjee, Aditya Sharma, Bilal Saeed, Amrik Singh, Badshah & Indeep Bakshi
♪ Music Label: Zee Music Company
♪ Music Released On: 3rd August 2016
♪ Movie Releases On: 9th September 2016

Baar Baar Dekho Album Cover

Baar Baar Dekho Album Cover

 

To hear the full songs of this album on Saavn CLICK HERE

To buy this album on iTunes CLICK HERE


Baar Baar Dekho is an upcoming Bollywood rom-com starring Sidharth Malhotra and Katrina Kaif in the lead roles, while Sarika, Ram Kapoor Sayani Gupta play supporting roles. The film has been directed by debutante director Nitya Mehra, and backed by big producers like Karan Johar, Ritesh Sidhwani and Farhan Akhtar. The film is a time-travel romance, and looks quite interesting, but here I remind myself again that I’m not a movie reviewer! What I’m concerned with is the music! And the music album of the film is another multicomposer album! Karan Johar seems to have trusted this multicomposer trend a lot (I guess after the ‘Kapoor & Sons’ music worked so well), and so, he ropes in five composers for this album. Of course, the real credit goes to Azeem Dayani who is the music supervisor of the film (also for ‘Kapoor & Sons’ too!), and he has brought in these five songs that make up the album. When the music of ‘Kapoor & Sons’ was so good, this is bound to be just as mind-blowing and expectations from Azeem are very high! First up is Jasleen Royal, who we already are acquainted with, thanks to Sneha Khanwalkar for giving her that big break in Bollywood with the song ‘Preet’ (Khoobsurat). She leads the album with two of her songs, also debuting as a composer! What a bundle of talent she has turned out to be, and hopefully, all that talent reflects in her work for this film! Next up is the top composer of this generation, Amaal Mallik, back after quite a break after his last, ‘Kuch Toh Hai’ (Do Lafzon Ki Kahani), and he gets a song on this album. After him comes the wonderful Arko Pravo Mukherjee, fresh from the success of his latest ‘Tere Sang Yaara’ (Rustom), and getting to compose one song here, his second for KJo after the beautiful, emotional and heart touching ‘Saathi Rey’ (Kapoor & Sons). Then we have Pakistani singer-composer, Bilal Saeed, with probably his biggest project of his life, and one song to prove his mettle. His first Bollywood outing, ‘Ishqedarriyan’ was quite ordinary; hopefully he does better here!! And last, but how can he ever be the least, is Badshah, who, very conveniently for him, gets to remake the old hit number ‘Kala Chashma’, which was originally composed by Prem Hardeep. Hopefully, this large ensemble of musicians have made a great music album, and when KJo is backing the music and Azeem is the music supervisor, there’s hardly anything to worry about! So let’s see, how many times we can manage to hear this album baar baar!


1. Kho Gaye Hum Kahan
Singers ~ Jasleen Royal, Prateek Kuhad, Music by ~ Jasleen Royal, Lyrics by ~ Prateek Kuhad

The album starts off to a wonderful, dulcet and calm melody composed by debutante, Jasleen Royal. Jasleen seems to have composed this song in her sleep, during her most pleasant dream ever, because the composition is a very pleasant, dreamy one too! Jasleen has kept everything minimal and simple. Without doing much, she manages to do a lot. The simplicity of it all is what is the main attraction of the song. You won’t even feel as if you’re listening to a song from a Karan Johar movie! And after this, Karan Johar albums won’t be tagged loud either! Jasleen does a wonderful job keeping everything bound together by a very simplistic, but very angelic and cute tune, that is bound to make you forget all of your stress, and let you get drowned in the paradise of her music. The arrangements have been kept just as minimal, with a constant guitar riff playing in the background, and making things sound so subtle and gentle. The whole song played on guitars makes you give so much attention to the lyrics, composition and vocals. Of course, towards the end, to make the finale grand (or grander than the subtlety of the rest of the song) Jasleen adds some new sounds like a wonderful whistle, and variations in the style of playing the guitar. Of course, both of the lead singers are perfectissimo in their rendition of the calm, free-floating melody. Jasleen herself has sung her composition, and in my opinion, nobody else could match the sweetness and innocence needed to sing this song. No wonder it is her that came up with this tune!! The sweetness and innocence reflect in both her voice and composition. Prateek Kuhad, also the lyricist, croons his own words, and he does it well, too. Of course, he doesn’t sound professionally trained, but manages to grab the listener’s attention in whatever he sings. Both of them together sound cute and sweet as sugar. The countryside touch in the sing can’t be missed at all. It’ll be bliss for people who come home stressed and just want to chill out after a hectic day at work! Prateek’s lyrics, too, show how things can be conveyed through simplicity! A very simplistic, but very innocent and innovative AND attractive romantic song!! A very blissful start to this KJo album, which usually start with glamour and pomp! #5StarHotelSong!!

 

2. Sau Aasmaan
Singers ~ Neeti Mohan & Armaan Malik, Music by ~ Amaal Mallik, Lyrics by ~ Kumaar

And the mood lightens up (even more than what it had gotten lightened up by the first song) with the arrival of the next song on the album. The zestful guitar starts off the song with a very lofty spunk, only to be joined later on by a rather jumpy banjo, whose sole purpose is for you to have the time of your life while listening to him — err, it. (And there I go overboard with my anthropomorphic one-liners!) Okay, more important than the gender of the banjo, is the song at this moment. So, as I was saying, the opening music to the song is so energetic, you can’t help but start grooving to it. And then Amaal makes sure you get no less of amusement while the actual melody starts to play. As soon as Neeti, with her silky-soft and feathery voice starts with Amaal’s tune, you feel as if you have been transported to some new part of the world, which Amaal has made for his listeners. The song itself has been composed in such a manner that it will make you forget all your woes, NO MATTER WHAT THEY ARE! A happy-go-lucky tune mixed with beautiful background music, what could go wrong? The arrangements are beautiful, with of course, the banjo (Pramod Timilsina) and guitars (Pramod Timilsina & Armaan Malik) take center stage, while Amaal adds in some very irresistible EDM that just doesn’t leave your head (Again, why should it!) The man’s arranged everything so properly and perfectly, that everything just gels together and the result is a beautiful love song. Coming to the vocals, each line by Neeti is a delight. Her thin voice is what is just perfect for the song. Coupled with Armaan, she sounds awesome. Armaan himself is at his best, having the antara and second mukhda (repeated at the end of the song) to himself and rendering them both with the confidence that only he can have. The way the hookline mellifluously flows out of Neeti’s mouth, just made me speechless. She sings it with such ease that it is unbelievable! Even the mukhda, she sings so effortlessly, it made me fall in love with her voice once again after ‘Bombay Velvet’! Kumaar’s lyrics explain the happy feel of the song very well, and make sure the listeners are included in the happiness of the protagonists. And that is one spectacular romantic song, one that I personally will never forget! Cuteness at its best, presenting Amaal’s next superhit tune!! #5StarHotelSong!!

 

3. Dariya
Singer ~ Arko Pravo Mukherjee, Music by ~ Arko Pravo Mukherjee, Lyrics by ~ Arko Pravo Mukherjee

It feels as if the mood that Jasleen had lightened up for us right at the start of the album, and the same mood which Amaal lightened up a bit more, doesn’t ever want to go back down, just as we don’t want it to go back down! And I say this because, to continue the freshness that this album has been carrying till this point, Arko very opportunely presents his song in the album, another love song composed in a very innovative way. The composition is soulful in a very different way. When I say it is fresh, I mean fresher than the fish you get along the coasts of Kerala, and fresher than the smell of a new book. The tune that Arko has woven is nothing like the usual romance that Bollywood has been frolicking around with for so many years. The mukhda, which is also the hookline, is a beautiful opening to the song, and the line “Aaya ranjha mera..” is sweet as honey. (I realized the phrase ‘sweet as sugar’ is too common so… Why not substitute it with honey?) The antara is a perfect example of how to continue freshness of a beautiful tune, without losing listeners halfway. Arko’s specialty is that he can attract listeners with simple melodies, and we see that here too. The “ohhoo ho ho ho ho ohho” vocals by him in the interludes are so charming! The arrangements are nothing but energetic guitar riffs that make the song sound fresh and modern, without too much instrumentation spoiling it. Strings in the second interlude are something you mustn’t miss though! Arko’s vocals, though not cut out for perfect singing, with that faltery and shaky texture, does magic in this song, just as it had done in ‘Saathi Rey’ (Kapoor & Sons). He sings the song with such unmatchable charm and ease, that I can’t imagine anyone else singing it! Arko’s lyrics are also at the height of cuteness, with every word touching your soul somehow. Arko shows again how much magic he can make with light and ear-friendly music! A soulful romantic song that will leave you in awe you for sure. #5StarHotelSong!!

 

4. Nachde Ne Saare
Singers ~ Jasleen Royal, Harshdeep Kaur & Siddharth Mahadevan, Music by ~ Jasleen Royal, Lyrics by ~ Aditya Sharma

Jasleen returns into the soundtrack with her second song, which turns out to be an upbeat, but definitely offbeat Punjabi wedding song. The composer seems to have had good fun while composing this one, because the tune that has come out as the final result is something that nobody would imagine in a Punjabi wedding song. The composition is so sweet and cute, that you could hear it on loop and very well get diabetes in just a few listens! The composition reminds you a bit of Amit Trivedi’s composition style, with its attractive cuteness. Jasleen leaves no stone unturned in making sure that the end product is a song that will make families all around the world dance together at reunions. The mukhda very nicely starts things off with a cute tune, while the hookline is infectiously energetic. You can’t help but start dancing to it! 😀 And then there are the two antaras, the first being a very quirky and sweet one, while the other is more loud and dynamic in its treatment; at the end of the day, both of them entertain equally. And then we come to Jasleen’s very magnificent arrangements! The usual dhadd and dhols do steal hearts here, but less because of their loudness and more because of their sweet placement. The guitar wonderfully does the job of background music, while the tumbi is what makes you shake your head while the song plays. And Jasleen uses that tumbi very well, like in the interludes and antara. And then there is some wonderful, futuristic techno music that plays oh-so-beautifully in the background while the singers are singing the hookline! That music is just unbelievably goooodd!! The vocals are just as energetic as the rest of the song, but the cuteness remains intact. Jasleen’s voice, as usual, charms you, and then there’s the wonderful, cute and sweeeeeet voice of Harshdeep Kaur, which was definitely needed in this song (both because it suits Katrina so well, and because she’s so good at singing songs this sweet!) The male singer, Siddharth Mahadevan, gets a smaller scope than the two leading ladies, but manages to catch up to them with that “fool vool karne mein cool..” line of his, which is so cool! 😀 And his line in the second antara is great as well! Although I can’t help but say that the two female singers ooze confidence and sweetness, while he adds the spunk and craziness to the song. Aditya Sharma, a debutant lyricist, has great reason to debut with this song, as he has written just as great lyrics as anyone else would’ve for this song. A great mixture of cuteness and fun and frolic, his words really make you smile! Jasleen strikes gold with this one, a Punjabi wedding song that is far better than the usual, typical ones that Bollywood has been making these days!! #5StarHotelSong!!

 

5. Teri Khair Mangdi
Singer ~ Bilal Saeed, Music by ~ Bilal Saeed, Lyrics by ~ Kumaar, Additional Lyrics by ~ Bilal Saeed

A loop of melancholic piano notes takes over from the very light mood of the previous four songs. And then we understand that finally, the darkness has set into the album. Of course, that doesn’t always have to be bad! Bilal Saeed steps into the album for this next song, and because his future in Bollywood clearly depends on this song (which is his biggest venture in Bollywood as of now) he steps into the album with quite a lovely sad song. The song is actually an adaptation of his very own pop song, a collaboration between him and Dr. Zeus, which had released in 2012 in his album ‘Twelve’, and Azeem must’ve decided to include that in this film. The composition has that very distinct and clichéd pop sound to it, and still manages to grab your attention. Bilal’s composition is quite good, and all that he has done different from the original is, crank down the tempo a bit so that it sounds sad, whereas it sounded like a remix in the original pop song. The hookline is of the type that you hear once and it gets stuck in your head. Whether you want it or not! Fortunately, in this case, it is good. The antara seems kind of weak in its tune, but after a couple of listens it sets in well. Compared to the well composed mukhda though, it is not half as good. Bilal’s arrangements are quite simple, yet heavy in that there is a lot happening at once. The piano that starts the song keeps on repeating through the song, while wonderful violin strokes accentuate the pain in the song, after the mukhda. There are beats that are typical of pop songs, but entertain over here nevertheless. The violin is definitely the star of the arrangements, though it keeps playing the same tune over and over again, just like the piano. I wish there was some variation over there. Bilal’s voice suits the song, and I really can’t imagine anyone else singing this song as he has sung it; I don’t know whether that was a negative comment or positive! 😛 Along with Bilal, who has written additional lyrics, Kumaar has written a good song, and though it is nothing to marvel at, it isn’t something to keep cringing at either. However, the original song was written by Bilal, and I wonder how he has written additional lyrics, if the lyrics are more or less the same!! 😦 Shouldn’t it be the other way round? Anyway, this is a song that will definitely work in favour of the film for a few weeks. And though it isn’t as good as the others, it is a good break for Bilal in Bollywood! #5StarHotelSong!!

 

6. Kala Chashma
Singers ~ Amar Arshi, Neha Kakkar & Badshah, Original Composition by ~ Prem Hardeep, Music Recreated by ~ Badshah, Lyrics by ~ Amrik Singh & Kumaar, Rap Lyrics by ~ Badshah & Indeep Bakshi

Here comes the song I was waiting for all this while. Like a principal awaits the troublesome student, and a lion awaits a deer in his den, I was awaiting this song. 🙈 So, Karan Johar has taken up this fad of remaking old pop hits in his movies, and though they worked quite a number of times before this, this one is a compete loser! The person who gets to remake this Prem Hardeep hit from the 2000s happens to be none other than Punjabi rapper Badshah. And his own song ‘Chull’ had been remade in KJo’s last ‘Kapoor & Sons’. Is this revenge?? OK, so the composition is nothing but timepass, with just one tune repeating the whole time, either played on tumbi or sung by the singers. Of course, there’s a brief portion where Neha Kakkar sings in some other tune, and the mandatory Badshah rap, but besides that, everything is the same, irritating, stuck-in-your-head-but-never-getting-out tune that is spoiling the whole song! I know it was a rage back then, but every tune has its time! 😬😬 Basically, Badshah was the last person the makers should’ve approached to remake this one. Or maybe they just wanted an instant hit for their movie. Of course they did. The arrangements are not even attention-worthy. The irritating tumbi plays tat irritating tune throughout the song, while Badshah intermixes it with some more irritating techno sounds that barely make you pop and lock. 😂 I even thought I heard Dr. Zeus’ famous trademark, the screaming lady and the shattering glass, somewhere!! Or was it just me? :O Have I gone mad? I hope not. Please tell me you heard it too! The vocals are just as irritating. Amar Arshi’s vocals must’ve been taken from the original track itself, or re-recorded, what does it matter? It still sounds bad! Neha Kakkar uses her usual sharp and shrill voice to sing, while Badshah keeps interrupting with the same rap every single time! And the rap is about how the boys’ hearts are on fire when they see the girl walking on the street. Of course, what can you expect from a song which is about how good black sunglasses look on a girl who’s really fair? bad end to the otherwise great soundtrack!! the only song on the soundtrack that screams ‘R.I.P. Bollywood music’!!


Baar Baar Dekho turns out to be an exceptionally good multicomposer album! If you want a multicomposer album to sound great, leave it to Karan Johar and Azeem Dayani to bring together a nice ensemble of musicians to do it for you! With tons of variety, this album surely is one of the best multicomposer albums of the year! Also, Azeem Dayani and Karan Johar have given the industry a new find in Jasleen Royal, the young lady composer whose both songs in this album are hands-down beautiful! Amaal and Arko impress as usual, and Badshah disappoints as usual, while Bilal makes a good entry into mainstream Bollywood with a big-banner film. The album stays true to its name, and it is something to hear not just baar baar, but baar baar baar baar baar baar!!

 

Final Rating for This Album: सा < रे < ग < म < प < ध < नी < सां

Note: The letter which is underlined is the final rating.

Recommended Listening Order: Nachde Ne Saare > Sau Aasmaan = Dariya = Kho Gaye Hum Kahan > Teri Khair Mangdi > Kala Chashma

 

Which is your favourite song from Baar Baar Dekho? Please vote for it below! Thanks 🙂

AN ALBUM BORN TO RUN, BUT ENDS UP FLYING!! (BUDHIA SINGH: BORN TO RUN – Music Review)

Music Album Details
♪ Music by: Hitesh Sonik, Sidhant Mathur & Ishaan Chhabra
♪ Lyrics by: Prashant Ingole, Gopal Datt, Abhishek Dubey & Kantakabi Laxmikanta Mohapatra
♪ Music Label: Zee Music Company
♪ Music Released On: 1st August 2016
♪ Movie Released On: 5th August 2016

Budhia Singh: Born To Run Album Cover

Budhia Singh: Born To Run Album Cover

 

To hear the full songs of this album on Saavn CLICK HERE

To buy this album on iTunes CLICK HERE

 

 

 

 

♪ Hear “Born To Run (Anthem)” on YouTube:

♪ Hear the other four songs on YouTube:


Budhia Singh: Born To Run is a Bollywood biographical sports film, starring Mayur Patole, Manoj Bajpayee, Shruti Marathe and Tilottama Shome in prominent roles. The movie has been directed by Soumendra Padhi, produced by Viacom18 Motion Pictures and Code Red Films. The movie revolves around the wonder boy Budhia Singh, who ran as many as 48 mmarathon, at the tender age of five!! The boy, who hails from Odisha, ran from Puri to Bhubaneswar at the age of four, covering 65 kilometers in seven hours and two minutes! What an achievement! So the movie is about his struggles and the hurdles he faced. As for the music, I was expecting not more than three songs or so, so I was pleasantly surprised when I got the album with 5 songs! The music has been done by multiple composers, with three songs by Sidhant Mathur, a composer who has composed for the 2014 film ‘Children of War’. The second one is the well-known Hitesh Sonik, who has one song to his credit, while the last song is by Ishaan Chhabra. As such films always unexpectedly surprise me with their music, even though they aren’t music-driven, I would expect a lot from the music! So, let’s run straight into the music of this album!


1. Born To Run (Anthem)
Singers ~ Siddharth Mahadevan & Arhaan Khan, Music by ~ Hitesh Sonik, Lyrics by ~ Prashant Ingole

This song has been tagged as an anthem specifically, but I’m sure we would’ve been able to discern that without them telling us so! The energy of the song is definitely anthemic, and Hitesh Sonik, back after almost a year, (his last being ‘Pyaar Ka Punchnama 2’), has cooked up a very, very enjoyable and energetic composition. The song starts with some interesting bell chimes, followed by some really electrifying rock guitar strums. That just sets up the anthem setting only too well, and you prepare yourself for the actual anthem that is to follow. Hitesh’s composition is one that instantly grips your attention with its mix of in-your-face aggression (of course, the motivational kind of aggression!) and determination. The hookline which goes “Saansein humariii… HUZOOOOOORRRR” is very apt for the situation, and sounds so cute!! A great concoction of folk music and rock makes this anthem worth listening on loop. The various twists and turns which Hitesh throws into the composition, are beautiful! The arrangements are also interesting, with no overdose of rock elements, but they are neutralized well by the folk elements and techno sounds. Towards the end of the song, it breaks into complete folk music, with a Bhajani theka played with manjeeras, and chants of ‘Jai Jagannath’, that go well with the Odishan setting of the film. A cute kids chorus sings most of the song, while their leader is Arhaan Khan, the son of Arbaaz Khan & Malaika Arora Khan. And that boy has bundles of enthusiasm just packed up inside! His voice is so sweet, but with lots and lots and lots of energy! The way he rolls his ‘R’ at the end of “huzoorrrr” is marvellous! Siddharth Mahadevan on the other hand, leads the whole song brilliantly! If someone has been made for singing anthems in Bollywood, it has got to be Siddharth Mahadevan — after ‘Zinda’ (Bhaag Milkha Bhaag), he proves himself once again in such a song! Lyrics writer Prashant Ingole is back after quite some time (the last I remember him writing were some songs in ‘Bajirao Mastani’) and he comes back with a bang! He writes a great inspirational song (again, after ‘Ziddi Dil’ from ‘Mary Kom’) and succeeds! A very greatly enthusiastic start to the album, and an anthem that has the potential to rock, but might be unfortunately overlooked! 😦 #5StarHotelSong!!

 

2. Sunapua… Thu Daud Daud
Singer ~ Rituraj Mohanty, Music by ~ Sidhant Mathur, Lyrics by ~ Gopal Datt

The next song takes the folksiness of the album to a whole new level, with something like a Carnatic verse starting the song off, followed by the heart-touching sound of a violin played on a quirky vocal rhythm. The composition by Sidhant Mathur is exceptional! Such a feel-good composition, that you feel more than just “good”! The mukhda is quite reminiscent of the songs of ‘Dhanak’, which I had loved infinitely. The hookline, though, is where the composer has concentrated most of the magic! A wonderful rhythmic hookline that gets you swaying to its beats, is the most magical thing on this world for me! 😀 And this hookline is just like that! The antara is more of a contemplative tune, with a slow and steady rhythm, contrary to the other parts of the song. But at the end of the antara, is a very fun, fast part, which leads up brilliantly to the hookline! The composer must’ve had tons of fun composing this one, because it’s so fun to hear! The arrangements rely on folk arrangements to do their work, and it really works great. There is a splendid tabla theka right before the hookline, and it steals your breath away; your heart literally skips a beat, and you are very, very vulnerable at that time! 😂🙈 The whole song has more of a Rajasthani feel to it, with the aalaaps in the background and the Rajasthani-flavoured arrangements. The beats of the hookline are beautiful and so enchanting! Flutes have been generously added to add to the charm of the song. The first interlude has a wonderful orchestral piece, that’ll blow your mind away. The secind interlude, however, is on a xylophone, and sounds marvelous as well! The vocals by Rituraj are amazing, and it is good to have an Odishan singer singing, but one can’t help but miss Papon on this track. His metallic voice would’ve done wonders here. Nevertheless, Rituraj doesn’t make me complain. The way he sings the “dauuud dauud” in the hookline, is spectacular! Lyrics by Gopal Datt are good as well, and he borrows some lines from the Odiya language, which mean ‘sweet son’ and ‘son of gold’. A feel-good song with a charming composition and beautiful arrangements! #5StarHotelSong!!

 

3. Udi Jaa
Singer ~ K. Mohan, Music by ~ Sidhant Mathur, Lyrics by ~ Gopal Datt

The next song is another feel-good one, which starts off with a calming guitar riff, and a rhythm played by shakers. Sidhant Mathur’s composition is very soft and calming, with a very contemporary touch to it. The mukhda is very charming, especially the line “Sapne jab subah… Chalne lagte hain” right before the hookline, which a very effective motivational one. It will give you that boost of energy that will make you love the song immediately. The antara too, is very beautiful, with Mohan adding detailed variations in the singing style, which is remarkable. The way Sidhant has overlapped two tracks of Mohan singing two different things — one singing the hookline and the other with a classical aalaap/sargam, towards the end, is fabulous. The arrangements are calming, mostly guitars and shakers, but the drums add that spunk factor to the song which make it sound all the more motivational and energetic. The whole treatment makes the song sound like what Amit Trivedi would compose for a breezy song in a rom-com. 😀 The piano as well, is quite enjoyable. There are fervent strings that are sooooo marvelous, that it is no use telling you; you should go hear them yourself. The flute, of course, charms as usual! Mohan renders the song in his usual deep and attractive voice, and sings it with such ease! Gopal Datt’s lyrics are impressive as well, and suit the inspirational theme of the song and movie very well! An enjoyable inspirational song with a very uniquely composed hookline! Yet again, a bingo to the credit of Sidhant Mathur! #5StarHotelSong!!

 

4. Bheed
Singer ~ Sidhant Mathur, Music by ~ Sidhant Mathur, Lyrics by ~ Abhishek Dubey

The next song is yet another invigorating inspirational song, a bit on the emotional side this time. The composition is another contemporary styled one, quite catchy at that, but it hasn’t actually been made to be catchy. The song has an emotional side to it which touches your heart effectively. The mukhda isn’t something that is going to welcome you with its arms open in a very friendly way; it will be more like you either love it or you don’t. No intermediate stage. For me, the song is amazingly energetic and beautifully emotional. The hookline has been composed so liltingly, and on a rock rhythm, it sounds even more effective. Again, the treatment sounds like an Amit Trivedi song, and that makes things better. Sidhant Mathur has added touches that would make the song sound very heart touching when it plays in the movie. The song is situational and send to be placed at an important part of the movie. Sidhant’s arrangements are great, mostly soft, but it gets quite invigorating at the hookline, with drums and rock guitars. The contrast between the soft verses and the very enticing and hard-hitting rock in the hookline, has been brought out very effectively and impressively. Sidhant’s voice, though not tuned like a professional singer, sounds perfect for the song, with that faltering voice of his proving to be best for such a rock song. Abhishek Dubey (debutant?) writes great lyrics, though it is a situational track, but good words at that. A sad song that has the grip to it, and it wins because of the rock template, without which it would have sounded bland! #5StarHotelSong!!

 

5. Utkal Janani (Anthem)
Singers ~ Chintan Kalra, Aashna, Nanki, Jahnvi, Shairee, Kshitij & Malvika, Music Arranged by ~ Ishaan Chhabra, Music Composed by ~ Sidhant Mathur, Lyrics by ~ Kantakabi Laxmikanta Mohapatra

The final song on the album starts off with a very folksy shout, and goes on to break into a song that is basically a background music track, with a chorus of kids singing the state anthem of Odisha, ‘Bande Utkala Janani’, which was written by Kantakabi Laxmikanta Mohapatra. The composition is not exactly something memorable, but the fervour it has, would be very instrumental in making a scene onscreen come to life. The first part of the song has the kids singing the state anthem, with a three-beat rhythm on folksy percussion backing their voices. The second half, however, sees the song break into a pacy, upbeat trumpet fanfarish ballad with the trumpets playing a key role in bringing the song forward. An aboriginal kind of beat helps the song appeal. Though all this is happening, the way it has been executed kind of disappoints. A state anthem could have been composed way more enthusiastically and aptly than it has been composed here. Saying that, I must say it is not the end to the album I was expecting!


Budhia Singh: Born To Run is the typical sports film album. And by that I mean an album which will be composed for a movie which might even probably have all the songs playing in the background, with no song-and-dance sequence or typical Bollywoodisation of the songs. The song will serve their purpose in merely carrying forward the story. Also, the inspiration, zeal and fervour in the songs will be unmatchable. Similarly, this album has the same characteristics. Hitesh Sonik, with his one song, manages to touch your heart with a very connectable anthem, while Sidhant Mathur does three of his four songs very well. Last but not the least, I would like to say that this album was born to run, but I’m not surprised that it has flown!

 

Final Rating for This Album: सा < रे < ग < म < प < ध < नी < सां

Note: The letter which is underlined is the final rating.

Recommended Listening Order: Born To Run (Anthem) > Udi Jaa > Sunapua… Thu Daud Daud > Bheed > Utkal Janani (Anthem)

 

Which is your favourite song from Budhia Singh: Born To Run? Please vote for it below! 🙂 Thanks!

TEMPORARY KATTI WITH SHANKAR-EHSAAN-LOY!! (KATTI BATTI – Music Review)

Music Album Details
♪ Music by: Shankar-Ehsaan-Loy
♪ Lyrics by: Kumaar
♪ Music Label: Zee Music Company
♪ Music Released On: 28th August 2015
♪ Movie Released On: 18th September 2015

Katti Batti Album Cover

Katti Batti Album Cover

 

To hear the full songs of this album on Hungama CLICK HERE

To buy this album on iTunes CLICK HERE


Katti Batti is a Bollywood rom-com film, which starred Imran Khan and Kangana Ranaut in the lead roles. The film was directed by Nikhil Advani, and produced by him along with Siddharth Roy Kapur. Vivan Bhatena also starred in a supporting role in the film. The story is about two people Madhav (Maddy) and Payal, played by Imran and Kangana respectively, who are in love, but a sudden turn of events makes Payal leave Maddy. So the plot of the story goes something like that. Nikhil Advani, who had also directed “Hero” this year, releasing a week before this, now comes back to his forte, that is rom-com. The film flopped inspite of such a great hype; maybe a fault in the storytelling. Anyways, how does that concern me? Let’s talk about the music. The music has been given by Nikhil’s favourites for rom-coms, Shankar-Ehsaan-Loy. After the success of their album to Zoya Akhtar’s “Dil Dhadakne Do”, I expect them to do exceptionally well in this album. a) because they are awesome at composing for rom-coms — they have been stunning us right from ‘Kal Ho Naa Ho’ and albums like that, and b) because their collaborations with Nikhil, I believe, are always awesome, and should be in the future too! They have composed five songs for the movie, now only to see how much they appeal to me. So, here we go!! 🙂


1. Sarfira
Singers ~ Siddharth Mahadevan & Neeti Mohan, Rap by ~ Qaran Mehta

I worship Shankar-Ehsaan-Loy when it comes to club songs. Here, the album starts off with a similar club song, as they used to give in the past, with full on techno sounds and more techno sounds and even more techno sounds. However, let me confess to you, that this time, I didn’t find anything special in the song at all! Starting with techno sounds that make you go, “Oh, the same typical club beats… Let’s see what comes up ahead.” this song doesn’t have the trio going beyond the usual things that they put in every club song, making it sound pretty stale than the other club songs. Their experimentation power is very high, as we know from other songs, then, I wonder why they didn’t use that power of theirs here! The song starts with techno sounds that sound a lot like they’ve been played on a keyboard, followed by guitar strums which are really energetic and enthusiastic. Neeti’s intermissions saying “Fizool hai” are also good enough to make you feel that something extraordinary just might be around the corner. But when Siddhartha starts to sing, the tune of what he sings, carries a very heavy déjà vu feeling, something we have heard from Shankar-Ehsaan-Loy many a time in the past, and so it doesn’t click right away. What’s more, the mukhda does not even get over, or so it seems, before the hookline starts, very abruptly and it sounds pretty odd, as if the trio was in a hurry to get to it. However, the hookline itself is catchy as far as composition goes. Arrangements are nothing special though. As we progress towards the antara, the composition does get a little interesting, or at least more than the the previous parts. Arrangements, however, stay dull and bland. There comes a point when you start wondering why they didn’t put any arrangements other than the typical EDM, techno beats, just as a small attraction somewhere in the interlude or something. Well, that’s because the interlude is reserved for some new rapper called Qaran Mehta (what’s up with the spelling? Is it just to make it look cool? Because he didn’t rap that good.. It’s really annoying the way he raps) The composition has its shares of interesting and dull moments, whereas the arrangements are ordinary all throughout the song. Vocals by Siddharth and Neeti are good, but just that, nothing more. No variations, no anything. Lyrics by Kumaar though, are worth hearing — they do connect with today’s audience, though they are nothing extraordinary or funny like his other songs. Something which the trio has done so many times, the magic has just worn off now, and results in an unattractive song. Not such an impressive start to the album!

 

2. Sau Aasoon
Singers ~ Shankar Mahadevan & Rasika Shekhar

What I was actually expecting from the trio from the first song in the album, comes a bit late, but it comes better than expected. Better late, than never, right? There’s nothing like a sad, romantic, soft rock number from Shankar-Ehsaan-Loy. On top of that when it’s sung by Shankar himself, the expectations are tripled. Even though it’s a soft, sad number when we hear the tune, it takes on a really addictive form when we hear the arrangements, and Shankar’s versatile vocals suit the mellow song. High notes and low ones alike, he sings with great ease, as always. The song starts off with a wonderfully captivating guitar riff, joined a few seconds later by another awesome electric guitar playing beautiful notes. Shankar, when he steps in, deliberately sings out of the regular beat, pretty much like what the trio made Arijit do in ‘Mast Magan’ (2 States). He starts when you least expect it, because the guitar riffs mislead you. But it sounds exceptional when he jumps into the song unexpectedly. The hookline is something that you would feel like hearing over and over again forever. Rasika’s husky voice, though it might be sounding a bit too much autotuned, has this addictive tone to it, which makes anyone fall in love with it. However, in this song, she has two different roles: the humming and once or twice to sing the hookline. The first job she executes very well, but our heavy and husky voice just isn’t cut out for singing the hookline, which I would’ve preferred in Shankar’s husky yet soft voice. The antara has a very sweet and touching tune, including many variations, executed perfectly by Shankar. The backing chorus also supports well in these parts. Towards the ending we witness a beautiful jugalbandi of sorts between Shankar and Rasika, and it ends the song on a marvellous note. Arrangements consist of guitars, both acoustic and electric, sounding really great together in the same song. The drums have been added which increase the addictive nature of the song. To give the song a polished appearance, we have the piano, a misfit in a rock song, but sounding exceptional here particularly! Kumaar’s lyrics, are meaningful here, and again he surprises me with his immensely great ability to write both meaningful and meaningless songs with the same dedication or carelessness respectively. 😂 A complete Shankar-Ehsaan-Loy show from start to end! The song will get you pondering after it’s over and leave a huge impact! #5StarHotelSong!!

 

3. Lip To Lip
Singers ~ Nikhil D’Souza & Ritu Pathak 

Youngsters Nikhil D’Souza and Ritu Pathak (credited wrongly as Phatak :p ) bag the next song, a cute little romantic song revolving around “kissiyaan” (kisses). The main element of this song that enters right from the starting and stays till the end, and because of which you keep listening, is the quirkiness of it. Shankar-Ehsaan-Loy try to make a quirky, catchy and youthfully mad song, and succeed with distinction! I mean, the great composers that they are, how would they fail? Nikhil has been employed very effectively and he brings the Westernized flavour into the song, while at the same time, Ritu Pathak brings in the desi flavour and gives the best performance of her career, in my opinion. She keeps aside all the cheapness she brings into every other song and sings this one with all possible naughtiness, but without the cheapness. A time in the song comes when she goes totally nasal into Shamshad Begum mode, and another when, in the interlude, she says “O Sajnaa Veeee” in an unmistakable Richa Sharma voice. In fact, she kind of sounds similar to Richa Sharma throughout the song! Wonderful attempt! Nikhil is his usual casual, carefree a sounding self, and his fresh voice is always a pleasure to hear, unless the composition isn’t interesting. Shankar-Ehsaan-Loy’s composition took no time at all to grow on me, and in no time, I found myself humming the tune many times! The tune of the line “Main yaaaar tenu miss kardi, tenu yadaan vich kiss kardi…” is just too cutely addictive! The arrangements, too are unmatchable! A beautiful vocal rhythm starts off the song and the same rhythm forms the pillars for the song even later on in it. Acoustic guitars, saxophone, some quirky Amit Trivedish sounds, work together to make it a wonderful listening experience. Drums and some Arabic percussion also make an appearance later on in the song. Kumaar uses some gimmicky terms and his Hinglish lyrics are tough to forget, but very easy to remember. They have an instant youth connect and may be the reason why this song worked so much! In short, the song is something you must not miss, if you’re looking for something new, fresh, breezy et al!! Extra marks for the way Ritu Pathak has been made to sing!! #5StarHotelSong!!

 

4. Ove Janiya / Ove Jaaniye (Reprise)
Singers ~ Mohan Kannan / Sayani Palit

Yes, I know. I’ve written the spelling of the reprise version differently right? :p Contact Zee Music Company for more details. I myself have no idea why it’s named like that! 😀 Anyways, after hearing the song, all of Zee’s mistakes are forgiven. Shankar-Ehsaan-Loy present a soft, slow and calm, sad number sung beautifully by Mohan Kannan. When he last worked with them for ‘Chaandaniya’ (2 States), it resulted in an awesome sad song, with a groove to it that was hard to forget! This time, the song has no catchy groove as such, but it is the composition, which hooks you…if not instantly, then at least after two or three listens. The arrangements, though as minimal as possible, have the capability to soothe you down, and the song is just as effective as a lullaby to lull you to sleep, and I mean that in a positive way. First of all, mild piano notes start off the song, and an African-style percussion instrument gives the rhythm along with guitars and shakers and even the cymbals of drums, but all used in such a tranquil manner, that you wouldn’t believe it. Mohan renders the composition beautifully, and his voice just increases the serenity of the song manifold. His sargam portion in the first interlude stole my breath away. Otherwise too, he is spot-on with his rendition. Kumaar has written meaningful lyrics again, in Punjabi, romantic and emotional at the same time. The words have a unique ring to them, thanks to the trio’s unusually soft but beautiful composition. The reprise sees classical singer Sayani Palit come behind the mic, also making her Bollywood debut. Her version wasn’t as hooking as Mohan’s to me, but that would vary from person to person. Of course, her technicalities in singing the song are more perfect than Mohan, but it makes her version sound more difficult to connect with and less youthful and less contemporary than Mohan’s. This version has been sung on a backdrop of only very soft piano, and nothing else at all! Those piano arrangements are wonders to behold and the trio deserves a huge applause for them. If only somebody whose voice had more weight, maybe Kavita Seth or Rekha Bhardwaj had sung this version, it would have done way better. Or, if they had to retain Sayani, a nice clasica backdrop would’ve been more than enough to make me delighted, complete with tablas and sitar and the likes. The original is beyond all expectations, while the reprise falls just below them! Anyhow, both versions have scintillating arrangements, and lyrics, and the composition can’t be missed at any cost!! #5StarHotelSong!!

 

5. Jaago Mohan Pyaare
Singers ~ Siddharth Basrur, Digvijay Singh Pariyar, Raman Mahadevan & Rasika Shekhar

To conclude the album, we have something very unusual. Taking a glimpse at its name, you would think it is some bhajan, but press the play button and your ears seem to be playing tricks on you. It is a high-energy rock song, with a little folkish touch to it, sung with immense energy and dynamics by four singers with heavy voices. Well, I have to admit, the composition isn’t bad, and while it plays, you will enjoy it to the utmost, but the drawback is that, after it gets over, you will practically forget it. Shankar-Ehsaan-Loy try to bring that one crazy song that each of their albums nowadays have, but they do not quite surpass the bar that they themselves have raised to a very high level with the very recent ‘Gallan Goodiyaan’ (Dil Dhadakne Do). Siddharth Basrur, with his Vishal Dadlani-like voice, gets a bit too loud at times, but overall does good. Raman Mahadevan, who was a Shankar-Ehsaan-Loy regular atone particular time, and Digvijay Singh Pariyar, newcomer, and whose voice falls between that of Sanam Puri and Divya Kumar, do well too. The sole female singer, Rasika Shekhar, getting her second song in the album, sounds perfect here, contrary to being a misfit in ‘Sau Aasoon’. Arrangements are good but lack anything extraordinary. A fusion of rock and Punjabi folk, has been heard before, and hearing the way they have been used here, definitely doesn’t make it stand out as a composition by Shankar-Ehsaan-Loy. The tumbi part particularly sounds very ordinary. The rock guitars and drums sound better and if the song would have been purely rock, I wouldn’t have minded, but probably the script called for a Punjabi twist. If so, the trio had the capacity to work wonders with that! Kumaar, however, saves the trio by writing interesting lyrics, a boys vs. girls faceoff. As I said, the composition is great, but it has no repeat value. I am only hearing it now, because I didn’t have time when it released. :p I might be the only person, other than Imran Khan, Kangana Ranaut and everyone else associated with the film, who must be hearing it now! Not bad, but not excellent like the trio usually does! Vocals are good, so is the composition, and so are arrangements. But only the lyrics are great!


Katti Batti definitely doesn’t score among Shankar-Ehsaan-Loy’s best works, having two downright average songs (above average if compared to other composers’ work at present) and the rest awesome. There used to be a time when each and every song in an S-E-L album used to be stellar, enticing and magical in its own way. Since their mainstream comeback with ‘Bhaag Milkha Bhaag’ in 2013, this has definitely got to be their most underwhelming album. And yeah, that’s counting the ‘One By Two’ album and their two songs in ‘Darr @ The Mall’! The others, ‘2 States’, ‘Kill/Dil’ and ‘Dil Dhadakne Do’ had very few of the dull moments and compared to that, this one has too many!! And I’m not saying this is a bad album — not at all, because it is good in its own way. Just that it’s not the usual awesomeness that is expected from Shankar-Ehsaan-Loy. That said, I’m on a temporary ‘katti’ with Shankar-Ehsaan-Loy henceforth, till their next Bollywood album ‘Ghayal Once Again’ releases, from which I’ll be keeping immense hopes nevertheless! 😁

P.S. I’m already ‘batti’ with them because of their stellar soundtrack to Marathi movie ‘Katyar Kaljat Ghusali’!

 

Final Rating for This Album: सा < रे < ग < म < प <  < नी < सां

Note: The letter which is underlined is the final rating.

Recommended Listening Order: Ove Janiya > Lip To Lip > Sau Aasoon > Ove Jaaniye (Reprise) > Jaago Mohan Pyaare > Sarfira

 

Which is your favourite song from Katti Batti? Please vote for it below! 🙂